Guest Blog: Cathy Stayman invites you to Gurf Morlix at The Little Yellow Music House

Gurf Morlix
Gurf Morlix

The intimacy of a private event like this is replicated all over the world now and LYMH is fortunate to be among them. — Cathy Stayman


The Little Yellow Music House will be hosting an evening of music with song writer and producer Gurf Morlix on Sunday, November 9th. As a supporter and mutual friend of Jasper’s creator, Cindi, it would be my pleasure to extend an invitation to you.


The Little Yellow Music House is my living room where we have changed it up once a month, for the last three years, to host small intimate house shows. The living room furniture is slid aside, followed by bringing in comfy folding chairs allowing us a relaxing cozy atmosphere. In preparation for the concert, we are all asked to bring a dish to share along with your choice of beverage. The intimacy of a private event like this is replicated all over the world now and LYMH is fortunate to be among them.



A friend of mine once said, “Gurf is a rare visitor, and a peerless songsmith. Don’t miss him. He’s also droll. You can never go wrong with droll. Anyone can be acerbic, but it takes a master to be droll.”


“In my pocket, weighed a thousand pounds. I could hardly move, it was dragging me down.”

“Strike a bargain, what you think you need. But, you’re gonna get cut and you’re gonna bleed.”


It’s lyrics like these which stands up and grab my full attention! What about you? Who is this fellow? His name is Gurf Morlix, yet I don’t know him. As time passed, his name continued to show up on other CD liner notes, yet I still didn’t know him.


I first saw Gurf, along with Kevin Triplett, in Charlotte at the Evening Muse. The two of them were touring in support of Kevin’s taping of the film “Duct Tape Messiah” and Gurf’s CD “Blaze Foley’s 113th Wet Dream”. What kind of combination is that? Gurf used to play with Blaze Foley until the untimely death of his friend. I don’t know if I want to tell you about the bits and pieces I’ve collected in my head over the last handful of years. I feel strongly that Gurf Morlix and furthermore his friend Blaze Foley’s lyrics can, will, and do stand up on their own.

“I’m tired of running around finding answers to questions I already know.”

“Almost felt you touching me, just now. Wish I knew which way to turn and go.”

As we are reminded over and over again, very few of these well crafted songs end up recorded by the legends. As for Blaze Foley, John Prine recorded Clay Pigeons, Merle Haggard recorded If I Could Fly, and Lyle Lovett recorded Election Day. In other situations such as Gurf’s, he has either worked with or produced for Lucinda Williams, Ray Wylie Hubbard, Warren Zevon, Ian McLagan, Patty Griffin, Robert Earl Keen, Michael Penn, Buddy Miller, Mary Gauthier, Tom Russell, Jim Lauderdale, Grant Peeples, and Slaid Cleaves, to name but a few. Oh my goodness, the feeling that must be!


For this house concert there is a $20 suggested donation with 100% of your donation given to the musician.

4:00 PM – BYOB/Potluck Social Gathering

5:30 PM – Gurf Morlix


In conclusion, I suppose this is how we all get to know people, one note at a time, one word at a time, and one conversation at a time. We’d be so blessed to have you come join our musical family at our Little Yellow Music House. To get your reservations, email or call me at 803-309-0214.


Your hostess,


Cathy Stayman is one of Columbia's many stalwart music supporters and aficionados who keeps her eyes peeled for exceptional artists to share with the Columbia music community. She is the host and owner of The Little Yellow Music House.
Cathy Stayman is one of Columbia’s many stalwart music supporters and aficionados who keeps her eyes peeled for exceptional artists to share with the Columbia music community. She is the host and owner of The Little Yellow Music House.






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Two Worlds in One Night: 2014 Cola-Con Dance Party

cola con 2


Cola-Con is not your average comic book convention: not only is the convention centered on the relationship between hip-hop culture and its influence in the comic book world, but it also focuses on local hip-hop and alternative artists in the performing and visual arts categories. This year, Mo’ Betta Soul & Cola-Con present the Cola-Con Dance Party, which will be held this Thursday, October 30th 2014. The dance party will serve as a fundraiser for the upcoming Cola-Con 2015.


Since its conception in 2011, Cola-Con has been a culturally vibrant event that brings local artists together while cultivating the parallel worlds of comics and hip-hop. “Cola-Con was an idea that initially began as a way of showcasing all of the great talent of artists in

Hip-Hop and the comic world in South Carolina,” says Preach Jacobs, the founder of Cola-Con. “I used to go to all the comic cons with Sanford Greene, one of my best friends that has worked for Marvel and DC and saw how many artists loved hip-hop culture. [It] wasn’t a huge leap to put them together.”


Some of the first guest artists to be represented at the 2011 convention included Talib Kweli and 9th Wonder. Since then, the convention has featured performances from artists including Ghostface Killah from Wu-Tang Clan, Phife from A Tribe Called Quest, dead prez and the Foreign Exchange. In addition to these performers, the convention has featured panel discussions with names from the comic industry including the executive producer for The Boondocks and Black Dynamite Animated Series, LeSean Thomas.


Many people in Columbia may not realize how interrelated the comic and hip-hop cultures are with each other, and how they have influenced each other as they developed.  Cola-Con helps bring these two worlds together while educating those in our community who may not be as familiar with these scenes.  Jacobs says, “Comic industry is almost identical to hip-hop culture. . . .Every comic illustrator I know started with doing graffiti. So, it’s something that hip-hop knows well.  Years ago, comic books were not seen as a legit form of writing or entertainment, maybe even seen as a fad.  Now, we have books like The Watchmen that’s on the Time magazine’s top 100 books of all time. Hip-Hop is getting the recognition the same way.  Harvard University, the flagship university this country and probably the world, has started a hip-hop archive.”  Jacobs also states that this hip-hop archive is a big achievement in representing the importance of Hip-Hop culture in our society’s development.


“I used to be frustrated by the lack of diversity, but it’s my responsibility to create what I don’t see.  Columbia is a city that doesn’t have many outlets not just for hip-hop, but for black music in general.  There aren’t places for soul music in this city.  So, I’ve been doing things like my show, Mo’ Betta Soul, bringing soul musicians to the area like Eric Roberson, Anthony David and looking at bringing people like Musiq Soulchild and Bilal along with the hip-hop events I’m doing with Cola-Con to help.”


This year’s dance party will include performances by Pete Rock, a legendary hip-hop producer, doing a DJ set. Other guests include Producer Black Milk, representing Detroit, and Atlanta’s finest: DJ Rasta Roof (Phife of ATCQ) from Smokin’ Shells.


In addition to great music and dancing there will be a silent auction, live art, and a costume contest! The dance party will be, “an opportunity for like-minded artists to be together. It’s very rare to have an outlet for hip-hop music in this city and this is something for us,” says Jacobs. Make sure to wear your Halloween costumes and be ready to dance!


“Cola-Con is just proof that hip-hop and comic book cultures aren’t going anywhere. . . . My goal is to keep it moving.”


~By Sirena Dib


Event will be held Thursday October 30th, 2014 @ 701 Whaley from 8pm-12am. Advance tickets are $25. Get tickets here:




Jay graphic


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REVIEW: Dancing Through Life – A Look at Paul Taylor and His Work by Haley Sprankle

paul taylor dance co

“I can’t help it.”

That is dancemaker Paul Taylor’s response when asked why he choreographs.

Taylor became a professional dancer and choreographer in 1954 and has astonished audiences with his innovative pieces since then. In relying on the music and the world around him, his work is unique and draws audiences in with its relatability and infectious energy.

The Paul Taylor Dance Company graced the Koger Center stage last night and performed three of Taylor’s pieces, each with its own distinct theme and vibrancy.

The first, Diggity, was a lively take on dogs and their interactions with each other. Each dancer executed their solos with grace and wonderful stage presence and then melted into a wonderful unity with the ensemble that not many soloists can accomplish. The ensemble as a whole displayed phenomenal transitions from energetic, fast movements to complete control, giving the piece beautiful shape and dynamic.

The second, The Word, shocked audiences with its eerie vulnerability. The piece featured what seemed to be school boys faced with their innate sexuality and inner desires, similar to what is presented in Duncan Sheik’s musical Spring Awakening. The dance featured ominous shadows, a lot of contrast in movement and formations, and amazing characterization. The piece was attacked with such intensity that audiences were left silent in fear of ruining the mood set by the piece with their accolades.

The show closed with the third piece, Esplenade, one of Taylor’s most well-known pieces. The dance is characterized by a sense of nonchalant playfulness as take on pedestrian movement, giving the piece a sense of realism. Between the beautiful canons, effortless formation changes, and complete trust between partners, the piece exuberated energy that was the perfect end to the evening.

The USC Dance Company is taking on Taylor’s much sought after choreography November 6-7 at 7:30 at the Koger Center in their Masterpieces of the 20th Century concert in which they will perform his piece Company B.

“When looking at the repertory that would be included in the season Susan Anderson spoke to Kyra Strausburg and Stacey Calvert to see what Paul Taylor work they suggested we look into.  Without hesitation both replied Company B. It is a work that was created for professional ballet companies.  Being that our program is known for its strong ballet concentration we saw this as a great opportunity to expose our students to something different,” Sabrina McClure, the Administrative Specialist of the USC Dance Program, says.

With the presence of Taylor’s company this past week, dancers who will perform in Company B were able to take advantage of their expertise and experience.

“The residency of the Paul Taylor Dance Company included the opportunity to present our rehearsal of Company B to the Paul Taylor Dancers.  They were able to provide feedback and suggestions on the work based on their own experiences performing the piece,” McClure says.  “The USC dancers were able to converse with their counterpart from the Taylor company to discuss their role and how to take their performance to the next level.  This amazing opportunity will give new light to the USC dancers to further investigate their movement and performance in Company B.”   

For 60 years now, Taylor’s work has influenced and impacted audiences and dancers alike, and will continue to impact the world of dance and the arts.

“Paul Taylor has made modern dance more attainable and relatable. The topics he touches are profound and sometimes controversial yet relatable to any audience,” McClure says. “His choreography is highly sought out by many professional companies based in different genres.  It is not specific to just modern dancers or just ballet dancers.”

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