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Glossary
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2013-02-26T11:19:41+00:00
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This glossary defines terms in the context of the Oracle JD Edwards World systems.
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Closed ecological research centre in Arizona
University of Arizona Biosphere 2 is an American Earth system science research facility located in Oracle, Arizona. Its mission is to serve as a center for research, outreach, teaching, and lifelong learning about Earth, its living systems, and its place in the universe.[1] It is a 3.14-acre (1.27-hectare)[2] structure originally built to be an artificial, materially closed ecological system, or vivarium. It remains the largest closed ecological system ever created.[3]
Constructed between 1987 and 1991, Biosphere 2 was originally meant to demonstrate the viability of closed ecological systems to support and maintain human life in outer space[4] as a substitute for Earth's biosphere. It was designed to explore the web of interactions within life systems in a structure with different areas based on various biological biomes. In addition to the several biomes and living quarters for people, there was an agricultural area and work space to study the interactions between humans, farming, technology and the rest of nature as a new kind of laboratory for the study of the global ecology. Its mission was a two-year closure experiment with a crew of eight humans. Long-term it was seen as a precursor to gaining knowledge about the use of closed biospheres in space colonization. As an experimental ecological facility it allowed the study and manipulation of a mini biospheric system without harming Earth's biosphere.
Its seven biome areas were a 1,900-square-meter (20,000 sq ft) rainforest, an 850-square-meter (9,100 sq ft) ocean with a coral reef, a 450-square-meter (4,800 sq ft) mangrove wetlands, a 1,300-square-metre (14,000 sq ft) savannah grassland, a 1,400-square-meter (15,000 sq ft) fog desert, and two anthropogenic biomes: a 2,500-square-meter (27,000 sq ft) agricultural system and a human habitat with living spaces, laboratories and workshops. Below ground was an extensive part of the technical infrastructure. Heating and cooling water circulated through independent piping systems and passive solar input through the glass space frame panels covering most of the facility, and electrical power was supplied into Biosphere 2 from an onsite natural gas power plant.[2]
Biosphere 2 was only used twice for its original intended purposes as a closed-system experiment: once from 1991 to 1993, and the second time from March to September 1994. Both attempts ran into problems including low amounts of food and oxygen, die-offs of many animals and plants included in the experiment (though this was anticipated since the project used a strategy of deliberately "species-packing" anticipating losses as the biomes developed), group dynamic tensions among the resident crew, outside politics, and a power struggle over management and direction of the project. The second closure experiment achieved total food sufficiency and did not require injection of oxygen.[5]
In June 1994, during the middle of the second experiment, the managing company, Space Biosphere Ventures, was dissolved, and the facility was left in limbo. Columbia University assumed management of the facility in 1995 and used it to run experiments until 2003. It then appeared to be in danger of being demolished to make way for housing and retail stores, but was taken over for research by the University of Arizona in 2007. The University of Arizona took full ownership of the structure in 2011. Research continues at the facility while also being a place that is open to the public.
Planning and construction
[edit]
The Biosphere 2 project was launched in 1984 by businessman and billionaire philanthropist Ed Bass and systems ecologist John P. Allen, with Bass providing US$150 million in funding until 1991.[6] Bass and Allen had met in the 1970s at the Synergia Ranch, a counterculture community led by Allen, who advocated Buckminster Fuller's "Spaceship Earth" concept and explored the idea of biospheres as a refuge from disasters such as nuclear war.[6] Several other former members of Synergia Ranch also joined the Biosphere 2 project.[6]
Construction was carried out between 1987 and 1991 by Space Biosphere Ventures, a joint venture whose principal officers were John P. Allen, inventor and executive chairman; Margaret Augustine, CEO; Marie Harding, vice-president of finance; Abigail Alling, vice president of research; Mark Nelson, director of space and environmental applications, William F. Dempster, director of system engineering, and Norberto Alvarez-Romo, vice president of mission control.[citation needed]
It was named "Biosphere 2" because it was meant to be the second fully self-sufficient biosphere, after the Earth itself ("Biosphere 1").
Location
[edit]
The glass and spaceframe facility is located in Oracle, Arizona at the base of the Santa Catalina Mountains, about 50 minutes north of Tucson. Its elevation is around 4,000 feet (1,200 m) above sea level.[7]
Engineering
[edit]
The above-ground physical structure of Biosphere 2 was made of steel tubing and high-performance glass and steel frames. The frame and glazing materials were designed and made to specification by a firm run by a one-time associate of Buckminster Fuller, Peter Jon Pearce (Pearce Structures, Inc.).[8][9] The window seals and structures had to be designed to be almost perfectly airtight, such that the air exchange would be extremely low, permitting tracking of subtle changes over time. The patented airtight sealing methods, developed by Pearce and William Dempster, achieved a leak rate of less than 10% per year. Without such tight closure, the slow decline of oxygen which occurred at a rate of less than 1⁄4% per month during the first two-year closure experiment might not have been detected.[10][11][12]
During the day, the heat from the sun caused the air inside to expand and during the night it cooled and contracted. To avoid having to deal with the huge forces that maintaining a constant volume would create, the structure had large diaphragms kept in domes called "lungs" or variable volume structures.[13]
Since opening a window was not an option, the structure also required a sophisticated system to regulate temperatures within desired parameters, which varied for the different biomic areas. Though cooling was the largest energy need, heating had to be supplied in the winter and closed loop pipes and air handlers were key parts of the energy system. An energy center on site provided electricity and heated and cooled water, employing natural gas and backup generators, ammonia chillers and water cooling towers.[14]
First mission
[edit]
External videos Odyssey in Two Biospheres – documentary film with historical footage of the first mission of Biosphere 2, reflections from three of the original mission members, and their life after re-entry into Biosphere 1 (full episode)
The first closed mission lasted from September 26, 1991, to September 26, 1993. The crew were: medical doctor and researcher Roy Walford, Jane Poynter, Taber MacCallum, Mark Nelson, Sally Silverstone, Abigail Alling, Mark Van Thillo, and Linda Leigh.[15]
The agricultural system produced 83% of the total diet, which included crops of bananas, papayas, sweet potatoes, beets, peanuts, lablab and cowpea beans, rice, and wheat.[16][17] Especially during the first year, the eight inhabitants reported continual hunger. Calculations indicated that Biosphere 2's farm was amongst the highest producing in the world "exceeding by more than five times that of the most efficient agrarian communities of Indonesia, southern China, and Bangladesh".[18]
They consumed the same low-calorie, nutrient-dense diet that Roy Walford had studied in his research on extending lifespan through diet.[19] Medical markers indicated the health of the crew during the two years was excellent. They showed the same improvement in health indices such as lowering of blood cholesterol, blood pressure, enhancement of immune system. They lost an average of 16% of their pre-entry body weight before stabilizing and regaining some weight during their second year.[20] Subsequent studies showed that the biospherians' metabolism became more efficient at extracting nutrients from their food as an adaptation to the low-calorie, high nutrient diet.[21]
Some of the domestic animals that were included in the agricultural area during the first mission included: four African pygmy goat does and one billy; 35 hens and three roosters (a mix of Indian jungle fowl (Gallus gallus), Japanese silky bantam, and a hybrid of these); two sows and one boar Ossabaw dwarf pigs; and tilapia fish grown in a rice and azolla pond system originating millennia ago in China.[22]
A strategy of "species-packing" was practiced to ensure that food webs and ecological function could be maintained if some species did not survive. The fog desert area became more chaparral in character due to condensation from the space frame. The savannah was seasonally active; its biomass was cut and stored by the crew as part of their management of carbon dioxide. Rainforest pioneer species grew rapidly, but trees there and in the savannah suffered from etiolation and weakness caused by lack of stress wood, normally created in response to winds in natural conditions. Corals reproduced in the ocean area, and crew helped maintain ocean system health by hand-harvesting algae from the corals, manipulating calcium carbonate and pH levels to prevent the ocean becoming too acidic, and by installing an improved protein skimmer to supplement the algae turf scrubber system originally installed to remove excess nutrients. The mangrove area developed rapidly but with less understory than a typical wetland possibly because of reduced light levels.[23] Nevertheless, it was judged to be a successful analogue to the Everglades area of Florida where the mangroves and marsh plants were collected.[24]
Biosphere 2, because of its small size and buffers, and concentration of organic materials and life, had greater fluctuations and more rapid biogeochemical cycles than are found in Earth's biosphere.[25] Most of the introduced vertebrate species and virtually all of the pollinating insects died, though there was reproduction of plants and animals.[26] Insect pests, like cockroaches, flourished. A globally invasive tramp ant species, Paratrechina longicornis had come to dominate other ant species.[27] The planned ecological succession in the rainforest and strategies to protect the area from harsh incident sunlight and salt aerosols from the ocean worked well, and a surprising amount of the original biodiversity persisted.[28] Biosphere 2 in its early ecological development was likened to an island ecology.[29]
Group dynamics: psychology, conflict, and cooperation
[edit]
Much of the evidence for isolated human groups comes from psychological studies of scientists overwintering in Antarctic research stations.[30] The study of this phenomenon is "confined environment psychology" (cf. environmental psychology); according to Jane Poynter,[31][32] it was known to be a challenge and crews often split into factions.[33]
Before the first closure mission was half over, the group had split into two factions and, according to Poynter, people who had been intimate friends had become implacable enemies, barely on speaking terms.[34] "Appreciation of the value of biosphere interconnectedness and interdependency was appreciated as both an everyday beauty and a challenging reality,"[35] Walford later acknowledged, "I don't like some of them, but we were a hell of a team. That was the nature of the factionalism... but despite that, we ran the damn thing and we cooperated totally."[36]
The factions inside the bubble formed from a rift and power struggle between the joint venture partners on how the science should proceed, as biospherics or as specialist ecosystem studies (perceived as reductionist). The faction that included Poynter felt strongly that increasing research should be prioritized over degree of closure. The other faction backed project management and the overall mission objectives. On February 14, a portion of the Scientific Advisory Committee (SAC) resigned.[37] Time magazine wrote: "Now, the veneer of credibility, already bruised by allegations of tamper-prone data, secret food caches and smuggled supplies, has cracked ... the two-year experiment in self-sufficiency is starting to look less like science and more like a $150 million stunt."[38] The SAC was dissolved because it had deviated from its mandate to review and improve scientific research and became involved in advocating management changes. Some SAC members chose to remain as consultants to Biosphere 2. The SAC's recommendations in their report were implemented including a new Director of Research Jack Corliss, allowing import/export of scientific samples and equipment through the facility airlocks to increase research and decrease crew labor, and to generate the lacking formal research program. Some sixty-four projects were included in the research program that Walford and Alling spearheaded developing.[39]
Undoubtedly the reduced oxygen and the calorie-restricted, nutrient-dense diet[40] contributed to low morale.[41] The Alling faction feared that the Poynter group were prepared to go so far as to import food, if it meant making them fitter to carry out research projects. They considered that would be a project failure by definition.
In November 1992, the hungry Biospherians began eating seed stocks that had not been grown inside the Biosphere 2.[42] Poynter made Chris Helms, PR Director for the enterprise, aware of this. She was promptly dismissed by Margret Augustine, CEO of Space Biospheres Ventures, and told to come out of the biosphere. This order was, however, never carried out. Poynter writes[43] that she simply decided to stay put, correctly reasoning that the order could not be enforced without effectively terminating the closure.
Isolated groups tend to attach greater significance to group dynamic and personal emotional fluctuations common in all groups. Some reports from polar station crews exaggerated psychological problems.[44] Although some of the first closure team thought they were depressed, psychological examination of the biospherians showed no depression and fit the explorer/adventurer profile, with both women and men scoring very similarly to astronauts.[45]
Challenges
[edit]
Among the problems and miscalculations encountered in the first mission were unanticipated condensation making the "desert" too wet, population explosions of greenhouse ants and cockroaches, morning glories overgrowing the rainforest area blocking out other plants, and less sunlight (40–50% of outside light) entering the facility than originally anticipated. Biospherians intervened to control invasive plants when needed to preserve biodiversity, functioning as "keystone predators". In addition, construction itself was a challenge; for example, it was difficult to manipulate the bodies of water to have waves and tidal changes.[46][47]
There was controversy when the public learned that the project had allowed an injured member to leave and return, carrying new material inside. The team claimed the only new supplies brought in were plastic bags, but others accused them of bringing food and other items. More criticism was raised when it was learned that, likewise, the project injected oxygen in January 1993 to make up for a failure in the balance of the system that resulted in the amount of oxygen steadily declining.[48] Some thought that these criticisms ignored that Biosphere 2 was an experiment where the unexpected would occur, adding to knowledge of how complex ecologies develop and interact, not a demonstration where everything was known in advance.[49] H. T. Odum noted: "The management process during 1992–1993 using data to develop theory, test it with simulation, and apply corrective actions was in the best scientific tradition. Yet some journalists crucified the management in the public press, treating the project as if it was an Olympic contest to see how much could be done without opening the doors".[50]
The oxygen inside the facility, which began at 20.9%, fell at a steady pace and after 16 months was down to 14.5%. This is equivalent to the oxygen availability at an elevation of 4,080 metres (13,390 ft).[51] Since some biospherians were starting to have symptoms like sleep apnea and fatigue, Walford and the medical team decided to boost oxygen with injections in January and August 1993. The oxygen decline and minimal response of the crew indicated that changes in air pressure are what trigger human adaptation responses. These studies enhanced the biomedical research program.[52]
Managing CO2 levels was a particular challenge. Daily fluctuation of carbon dioxide dynamics was typically 600 ppm because of the strong drawdown during sunlight hours by plant photosynthesis, followed by a similar rise during the nighttime when system respiration dominated. As expected, there was also a strong seasonal signature to CO2 levels, with wintertime levels as high as 4,000–4,500 ppm and summertime levels near 1,000 ppm.
The crew worked to manage the CO2 by occasionally turning on a CO2 scrubber, after realizing that activating and de-activating the desert and savannah through control of irrigation water, cutting and storing biomass to sequester carbon, and utilizing all potential planting areas with fast-growing species to increase system photosynthesis, wouldn't be enough to sustain human life.[53] In November 1991, investigative reporting in The Village Voice alleged that the crew had secretly installed the CO2 scrubber device, and claimed that this violated Biosphere 2's advertised goal of recycling all materials naturally.[54] Others pointed out there was nothing secret about the carbon dioxide device and it constituted another technical system augmenting ecological processes. The carbon precipitator could reverse the chemical reactions and thus release the stored carbon dioxide in later years when the facility might need additional carbon.[53]
The soils were selected to have enough carbon to provide for the plants of the ecosystems to grow from infancy to maturity, a plant mass increase calculated to be 20 short tons (18,000 kg).[55] The release rate of that soil carbon as carbon dioxide by respiration of soil microbes was an unknown that the Biosphere 2 experiment was designed to reveal. Subsequent research showed that Biosphere 2's farm soils had reached a more stable ratio of carbon and nitrogen, lowering the rate of CO2 release, by 1998.[56]
The respiration rate was faster than the photosynthesis (possibly in part due to relatively low light penetration through the glazed structure and the fact that Biosphere 2 started with a small but rapidly increasing plant biomass) resulting in a slow decrease of oxygen. A mystery accompanied the oxygen decline: the corresponding increase in carbon dioxide did not appear. This concealed the underlying process until an investigation by Jeff Severinghaus and Wallace Broecker of Columbia University's Lamont–Doherty Earth Observatory using isotopic analysis showed that carbon dioxide was reacting with exposed concrete inside Biosphere 2 to form calcium carbonate in a process called carbonatation, thereby sequestering both carbon and oxygen.[57]
Second mission
[edit]
After Biosphere 2's first mission, extensive research and system improvements were undertaken, including sealing concrete to prevent the uptake of carbon dioxide. The second mission began on March 6, 1994, with an announced run of ten months. The crew was Norberto Alvarez-Romo (Capt.), John Druitt, Matt Finn, Pascale Maslin, Charlotte Godfrey, Rodrigo Romo and Tilak Mahato. The second crew achieved complete sufficiency in food production.[5]
On April 1, 1994, a severe dispute within the management team led to the ousting of the on-site management by federal marshals serving a restraining order, and financier Ed Bass hired Steve Bannon, then-manager of the Bannon & Co. investment banking team from Beverly Hills, California, to run Space Biospheres Ventures. The project was put into receivership and an outside management team was installed for the receiver to turn around the floundering project. The reason for the dispute was threefold. Mismanagement of the mission had caused terrible publicity, financial mismanagement and lack of research. People[who?] alleged gross financial mismanagement of the project, leading to a loss of $25 million in fiscal year 1992.[58] Some crew members and staff were concerned about Bannon, who had previously investigated cost overruns at the site; two former Biosphere 2 crew members flew back to Arizona to protest the hire and broke into the compound to warn the crew members that Bannon and the new management would jeopardize their safety.[59]
At 3 a.m. on April 5, 1994, Abigail Alling and Mark Van Thillo, members of the first crew, allegedly vandalized the project from outside,[60] opening one double-airlock door and three single door emergency exits, leaving them open for about 15 minutes. Five panes of glass were also broken. Alling later told the Chicago Tribune that she "considered the Biosphere to be in an emergency state ... In no way was it sabotage. It was my responsibility."[61] About 10% of the Biosphere's air was exchanged with the outside during this time, according to systems analyst Donella Meadows, who received a communication from Alling saying that she and Van Thillo judged it their ethical duty to give those inside the choice of continuing with the drastically changed human experiment or leaving, as they didn't know what the crew had been told of the new situation. "On April 1, 1994, at approximately 10 AM ... limousines arrived on the biosphere site ... with two investment bankers hired by Mr. Bass ... They arrived with a temporary restraining order to take over direct control of the project ... With them were 6-8 police officers hired by the Bass organization ... They immediately changed locks on the offices ... All communication systems were changed (telephone and access codes), and [we] were prevented from receiving any data regarding safety, operations, and research of Biosphere 2." Alling emphasized several times in her letter that the "bankers" who suddenly took over "knew nothing technically or scientifically, and little about the biospherian crew".[62]
Four days later, the captain Norberto Alvarez-Romo (by then married to Biosphere 2 chief executive Margaret Augustine) precipitously left the Biosphere for a "family emergency" after his wife's suspension.[61] He was replaced by Bernd Zabel, who had been nominated as captain of the first mission but who was replaced at the last minute. Two months later, Matt Smith replaced Matt Finn.[citation needed]
The ownership and management company Space Biospheres Ventures was dissolved on June 1, 1994. This left the scientific and business management of the mission to the interim turnaround team, who had been contracted by the financial partner, Decisions Investment Co.[51]
Mission 2 was ended prematurely on September 6, 1994. No further total system science has emerged from Biosphere 2 as the facility was changed by Columbia University from a closed ecological system to a "flow-through" system where CO2 could be manipulated at desired levels.[51]
Steve Bannon left Biosphere 2 after two years, but his departure was marked by an "abuse of process" civil lawsuit filed against Space Biosphere Ventures by the former crew members who had broken in.[63] Leading managers of Biosphere 2 from the original founding group stated both abusive behaviour by Bannon and others, and that the bankers’ actual goal was to destroy the experiment.[64] During a 1996 trial, Bannon testified that he had called one of the plaintiffs, Abigail Alling, a "self-centered, deluded young woman" and a "bimbo".[65] He also testified that when the woman submitted a five-page complaint outlining safety problems at the site, he promised to shove the complaint "down her throat". Bannon attributed this to "hard feelings and broken dreams".[66] At the end of the trial, the court ruled in favor of the plaintiffs and ordered Space Biosphere Ventures to pay them $600,000.[59]
Science
[edit]
A special issue of the Ecological Engineering journal edited by Marino and Howard T. Odum and published in 1999 as "Biosphere 2: Research Past and Present" represents the most comprehensive assemblage of collected papers and findings from Biosphere 2.[67] The papers range from calibrated models that describe the system metabolism, hydrologic balance, and heat and humidity, to papers that describe rainforest, mangrove, ocean, and agronomic system development in this carbon dioxide-rich environment.[68][69] Though several dissertations and many scientific papers used data from the early closure experiments at Biosphere 2, much of the original data has never been analyzed and is unavailable or lost, perhaps due to scientific politics and in-fighting.[70][39]
Science historian Rebecca Redier has claimed that because Biosphere 2's creators were perceived as outsiders to academic science, the project was scrutinized but poorly understood in the media, and that this scrutiny ceased after Columbia University assumed management, because it was assumed they were "proper" scientists.[36]
Praise and criticism
[edit]
One view of Biosphere 2 was that it was "the most exciting scientific project to be undertaken in the United States since President John F. Kennedy launched us toward the moon".[71] Others called it "New Age drivel masquerading as science".[72] John Allen and Roy Walford did have mainstream credentials. John Allen held a degree in Metallurgical-Mining Engineering from the Colorado School of Mines, and an MBA from the Harvard Business School.[22][73] Roy Walford received his doctorate of medicine from the University of Chicago and taught at UCLA as a Professor of Pathology for 35 years. Mark Nelson obtained his Ph.D. in 1998 under Professor H.T. Odum in ecological engineering further developing the constructed wetlands used to treat and recycle sewage in Biosphere 2,[74] to coral reef protection along the Yucatán coast where the corals were collected.[75] Linda Leigh obtained her PhD with a dissertation on biodiversity and the Biosphere 2 rainforest working with Odum.[76] Abigail Alling, Mark van Thillo and Sally Silverstone helped start the Biosphere Foundation where they worked on coral reef and marine conservation and sustainable agricultural systems.[77] Jane Poynter and Taber MacCallum co-founded Paragon Space Development Corporation which has studied the first mini-closed system and the first full animal life cycle in space and assisted in setting world records in high altitude descents.[78]
Questioning the credentials of the participants, Marc Cooper wrote that "the group that built, conceived, and directs the Biosphere project is not a group of high-tech researchers on the cutting edge of science but a clique of recycled theater performers that evolved out of an authoritarian—and decidedly non-scientific—personality cult".[79] He was referring to the Synergia Ranch in New Mexico, where indeed many of the Biospherians did practice theater under John Allen's leadership, and began to develop the ideas behind Biosphere 2.[80] They also founded the Institute of Ecotechnics.[81]
One of their own scientific consultants was earlier critical. Ghillean Prance, director of the Royal Botanical Gardens in Kew, designed the rainforest biome inside the Biosphere. Although he later changed his opinion, acknowledging the unique scope of this experiment and contributed to its success as a consultant, in a 1983 interview (8 years before the start of the experiment), Prance said, "I was attracted to the Institute of Ecotechnics because funds for research were being cut and the institute seemed to have a lot of money which it was willing to spend freely. Along with others, I was ill-used. Their interest in science is not genuine. They seem to have some sort of secret agenda, they seem to be guided by some sort of religious or philosophical system." Prance went on in the 1991 newspaper interview to say "they are visionaries ... And maybe to fulfill their vision they have become somewhat cultlike. But they are not a cult, per se ... I am interested in ecological restoration systems. And I think all sorts of scientific things can come of this experiment, far beyond the space goal ... When they came to me with this new project, they seemed so well organized, so inspired, I simply decided to forget the past. You shouldn't hold their past against them."[82]
Poynter in her memoir rebuts the critique that because some of the creative team of Biosphere 2 were not credentialed scientists, the results of the endeavor are invalid. "Some reporters hurled accusations that we were unscientific. Apparently because many of the SBV managers were not themselves degreed scientists, this called into question the entire validity of the project, even though some of the world’s best scientists were working vigorously on the project’s design and operation. The critique was not fair. Since leaving Biosphere 2, I have run a small business for ten years that sent experiments on the shuttle and to the space station, and is designing life support systems for the replacement shuttle and future moon base. I do not have a degree, not even an MBA from Harvard, as John [Allen] had. I hire scientists and top engineers. Our company’s credibility is not called into question because of my credentials: we are judged on the quality of our work".[83] H.T. Odum noted that mavericks and outsiders have often contributed to the development of science: "The original management of Biosphere 2 was regarded by many scientists as untrained for lack of scientific degrees, even though they had engaged in a preparatory study program for a decade, interacting with the international community of scientists including the Russians involved with closed systems. The history of science has many examples where people of atypical background open science in new directions, in this case implementing mesocosm organization and ecological engineering with fresh hypotheses".[84]
In its report of August 1992, the Biosphere 2 Science Advisory Committee, chaired by Tom Lovejoy of the Smithsonian Institution, reported: "The committee is in agreement that the conception and construction of Biosphere 2 were acts of vision and courage. The scale of Biosphere 2 is unique and Biosphere 2 is already providing unexpected scientific results not possible through other means (notably the documented, unexpected decline in atmospheric oxygen levels.) Biosphere 2 will make important scientific contributions in the fields of biogeochemical cycling, the ecology of closed ecological systems, and restoration ecology." Columbia University assembled outside scientists to evaluate the potential of the facility after they took over management, and concluded the following: "A group of world-class scientists got together and decided the Biosphere 2 facility is an exceptional laboratory for addressing critical questions relative to the future of Earth and its environment."[85]
Management by Columbia University
[edit]
In December 1995, the Biosphere 2 owners transferred management to Columbia University of New York City.[86] Columbia ran Biosphere 2 as a research site and campus until 2003.[87] Subsequently, management reverted to the owners.
In 1996, Columbia University changed the virtually airtight, materially closed structure designed for closed system research, to a "flow-through" system, and halted closed system research. They manipulated carbon dioxide levels for global warming research, and injected desired amounts of carbon dioxide, venting as needed.[88] During Columbia's tenure, students from Columbia and other colleges and universities would often spend one semester at the site.[89]
Research during Columbia's tenure demonstrated the devastating impacts on coral reefs from elevated atmospheric CO2 and acidification that will result from continued global climate change.[90] Frank Press, former president of the National Academy of Sciences, described these interactions between atmosphere and ocean, taking advantage of the highly controllable ocean mesocosm of Biosphere 2, as the "first unequivocal experimental confirmation of the human impact on the planet".[91]
Studies in Biosphere 2's terrestrial biomes showed that a saturation point was reached with elevated CO2 beyond which they are unable to uptake more. The studies' authors noted that the striking differences between the Biosphere 2 rainforest and desert biomes in their whole system responses "illustrates the importance of large-scale experimental research in the study of complex global change issues".[92]
Site sold
[edit]
In January 2005, Decisions Investments Corporation, owner of Biosphere 2, announced that the project's 1,600-acre (650 ha) campus was for sale. They preferred a research use to be found for the complex but were not excluding buyers with different intentions, such as big universities, churches, resorts, and spas.[93] In June 2007, the site was sold for $50 million to CDO Ranching & Development, L.P. 1,500 houses and a resort hotel were planned, but the main structure was still to be available for research and educational use.[94]
Acquisition by University of Arizona
[edit]
On June 26, 2007, the University of Arizona announced it would take over research at the Biosphere 2. The announcement ended fears that the structure would be demolished. University officials said private gifts and grants enabled them to cover research and operating costs for three years with the possibility of extending funding for ten years.[95] It was extended for ten years, and engaged in research projects including research into the terrestrial water cycle and how it relates to ecology, atmospheric science, soil geochemistry, and climate change. One of these gifts in 2009 included 470 photovoltaic solar panels added to the site.[96] In June 2011, the university announced that it would assume full ownership of Biosphere 2, effective July 1.[97]
CDO Ranching & Development donated the land, Biosphere buildings and several other support and administrative buildings. In 2011, the Philecology Foundation (a nonprofit research foundation founded by Ed Bass) pledged US$20 million for the ongoing science and operations.[97] In 2017, Ed Bass donated another $30 million to the University of Arizona in support of Biosphere 2, endowing two academic positions and setting up the "Philecology Biospheric Research Endowment Fund".[98]
Science camps are also held on the premises. These have included a week-long 'space camp' for university undergraduates, and overnight camps for school students.[99][100] In 2011 it was reported that there were an average of 100,000 visitors per year visiting the Biosphere 2 campus.[101]
Later research
[edit]
There are many small-scale research projects at Biosphere 2, as well as several large-scale research projects including:
the Landscape Evolution Observatory (LEO), a project which uses 1,800 sensors to monitor millions of pounds of abiotic volcanic rock to track how this nonliving soil slowly develops over several years into a rich soil which is able to support microbial and vascular plant life. Structurally, this involved building three large steel-framed "hillsides" inside the pre-existing domes as the world’s largest weighing lysimeter, with design and implementation construction constrained by the limited accessibility into the existing structure.[102]
the Lunar Greenhouse, a second prototype of the Controlled Environment Agriculture Center which seeks to understand how to grow vegetables on the Moon or Mars by developing a bioregenerative life support system which recycles and purifies water through plant transpiration.[103][104]
a vertical farming project to be built in Biosphere 2's west lung, in collaboration with the private company Civic Farms,[105] in an effort to develop an indoor plant growth cycle with LED lamps configured to specific wavelengths aimed at increasing water efficiency, producing zero farm runoff, with no pests or pesticides, and zero effect from external weather conditions.[106]
In popular culture
[edit]
Bio-Dome, a 1996 comedy film based on Biosphere 2[107]
Spaceship Earth, a 2020 documentary film on Biosphere 2[108]
See also
[edit]
BIOS-3, a closed ecosystem at the Institute of Biophysics in Krasnoyarsk, Siberia, Russia
Eden Project
IBTS Greenhouse
Institute of Ecotechnics
Mars analog habitats
Flashline Mars Arctic Research Station (FMARS)
Mars Desert Research Station (MDRS)
MARS-500, ground-based experiment simulating a crewed flight to Mars
HI-SEAS
MELiSSA, a closed ecosystem run by the European Space Agency
Yuegong-1, a closed ecosystem experiment in Beijing, China
References
[edit]
Bibliography
[edit]
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FactBench
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| 56
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https://www.au.dk/en/show/person/franande%40rm.dk
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en
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Frank Dyekjær Andersen
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[
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2024-03-11T14:30:42+01:00
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Consultant at Department of Clinical Medicine - Medical Diagnostical Center, University Clinic for innovative care of patients at Aarhus University. See areas of expertise, research projects and contact information.
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en
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https://cdn.au.dk/favicon.ico
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https://www.au.dk/en/show/person/franande@rm.dk
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Common pages for staff members at AU
staff.au.dk
Employee portals
Find the local staff portal for your department or division.
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wrong_mix_domain_subsidiary_00002
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FactBench
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https://www.fitchratings.com/research/corporate-finance/fitch-downgrades-oracle-idr-to-bbb-outlook-negative-rating-watch-resolved-07-11-2022
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en
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FactBench
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3
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https://www.geeksforgeeks.org/list-of-10-female-lawyers-turned-ceos/
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en
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List of 10 Female Lawyers Turned CEOs
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2024-03-19T05:03:50
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A Computer Science portal for geeks. It contains well written, well thought and well explained computer science and programming articles, quizzes and practice/competitive programming/company interview Questions.
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en
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GeeksforGeeks
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https://www.geeksforgeeks.org/list-of-10-female-lawyers-turned-ceos/
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Last Updated : 04 Apr, 2024
Improve
In the business realm, many CEOs are accustomed to climbing a traditional ladder, which involves holding positions in management, finance, or marketing for years. However, there still is a group of female professionals who become successful in their legal skills and go to the leadership of the major corporations. In this article, we highlight ten such exceptional leaders who went from lawyer or judge to CEO, making a strong impression in both the legal and business sectors.
List of 10 Female Lawyers Turned CEOs
Here is a list of 10 female lawyers who turned into CEOs:
Indra Nooyi
Indra Nooyi is an accomplished business executive and former CEO of PepsiCo, known for her strategic leadership and innovative approach to business. During her tenure, she successfully navigated PepsiCo through challenging market conditions, focusing on sustainability, diversity, and product innovation. Nooyi’s contributions to the corporate world have earned her recognition as one of the most powerful women in business globally.
Indra Nooyi turned CEO of PepsiCo
Background: Indra Nooyi, a lawyer by training, became a powerhouse in the corporate world in her capacity as the CEO of PepsiCo.
Career Path: Upon her graduation from law school, Nooyi moved into the corporate world, joining PepsiCo where she became CEO in 2006.
Achievements & Awards: Nooyi’s tenure at PepsiCo witnessed strategic moves like extending the company’s product line, espousing sustainability, and dealing with legal and regulatory hurdles which are very complex.
Legacy: During her tenure, the company’s revenue and global presence grew tremendously, with PepsiCo gradually transforming into one of the world’s biggest food and the beverage company. The Nooyi’s strategic vision and sustainability commitment are idyllic to business leaders around the world.
Ursula Burns
Ursula Burns is a prominent business leader who served as the CEO of Xerox from 2009 to 2016, becoming the first African American woman to lead a Fortune 500 company. She is known for her tenure at Xerox, during which she navigated the company through a significant transformation, including the acquisition of Affiliated Computer Services. Burns is widely respected for her leadership, innovation, and commitment to diversity and inclusion in the corporate world.
Ursula Burns turned CEO of Xerox Corporation
Background: Ursula Burns was a lawyer by profession who became the first woman CEO of Xerox Corporation.
Career Path: At Xerox, Burns began her career as a mechanical engineer and earned a law degree before being named CEO in 2009.
Achievements & Awards: Under the leadership of Burns, CEO, Xerox made the transition from the traditional copiers to the 21st century business services and document management solutions.
Legacy: Burns’ leadership at Xerox takes the form of strategic acquisitions innovations as well as a dedication to diversity and inclusion. She guided Xerox to a position as a global leader in digital technologies and services.
Ginni Rometty
Ginni Rometty is a distinguished business executive who served as the CEO and Chairman of IBM from 2012 to 2020. During her tenure, she led IBM through a strategic shift towards cloud computing, data analytics, and artificial intelligence. Rometty is recognized for her visionary leadership, emphasis on innovation, and efforts to modernize IBM’s business operations.
Ginni Rometty turned CEO of IBM
Background: Ginni Rometty is the first woman who headed one among the multinational giants of the IT field. She was a computer scientist and lawyer by profession.
Career Path: In 1981, Rometty joined IBM and in time she was promoted to various leadership roles and the CEO role in 2012.
Achievements & Awards: Additionally, while serving as the IBM’s CEO, Rometty was the main driver of their cloud computing and AI strategy, which enabled the corporation to gain a competitive advantage in new and fast-growing technologies.
Legacy: Rometty’s approach to leadership at IBM manifests itself in strategic acquisitions, partnerships, and striving to make IBM into a company of the digital future. Among many accomplishments, one of the examples of her contribution was positioning IBM as a leader in enterprise software, cloud services, and cognitive computing.
Meg Whitman
Meg Whitman is a prominent business executive known for her leadership roles at eBay and Hewlett Packard Enterprise (HPE). As the CEO of eBay from 1998 to 2008, she oversaw its rapid growth into a global e-commerce powerhouse. Later, as the CEO of HPE from 2011 to 2018, she navigated the company through significant transformations and strategic initiatives. Whitman is respected for her business acumen, leadership skills, and contributions to the tech industry.
Meg Whitman turned CEO of eBay and Hewlett Packard Enterprise
Background: As a lawyer turned businesswoman, Meg Whitman oversaw pivotal organizations such as eBay when she served as its CEO and later Hewlett Packard Enterprise as its leader.
Career Path: Whitman career path started as a lawyer in a corporate investment bank and ended up as an executive in IT among other leading corporations. Initially, she was the CEO of eBay from 1998 until 2008. Later, she served as the leader of Hewlett Packard Enterprise from 2011 to 2018.
Achievements & Awards: In Whitman’s term eBay became the leading e-commerce market worldwide, whilst Hewlett Packard Enterprise prepared itself for the altered market realities with its restructuring.
Legacy: Whitman’s unique visiony and managerial innovation contributed her sole make her one of the most renowned ladies in technology. Her leadership at eBay and HPE, has created an aura of excellence that remains unshaken to date in the tech industry.
Mary Barra
Mary Barra is a prominent automotive executive who became the CEO of General Motors (GM) in 2014, making her the first woman to lead a major global automaker. Under her leadership, GM has focused on innovation in electric and autonomous vehicles, as well as sustainability initiatives. Barra is recognized for her strategic vision, commitment to innovation, and efforts to transform GM into a forward-thinking mobility company.
Mary Barra turned CEO of General Motors
Background: Mary Barra, a former lawyer and a practicing engineer, not only took her company to the summit but also earned the title of the first ever female CEO of General Motors.
Career Path: Barra started her career at General Motors as an internee, and then, by job rotation strategy her career was advanced to CEO in 2014.
Achievements & Awards: Under Barra’s active leadership in the position of the general director, General Motors underwent a period of transformation, with the aim of improving its innovation in electric and autonomous vehicles as well as addressing the challenges brought about by product recalls and safety issues.
Legacy: Barra showed GM her leadership, in which she has proposed innovations, sustainable development, and corporate responsibility. She has created a framework which allows GM to emerge as an innovator in the field of passenger mobility, as the sector transitions from internal combustion to electric cars and self-driving vehicles.
Safra Catz
Safra Catz is a prominent business executive serving as the CEO of Oracle Corporation, a position she has held since 2014. She is known for her strategic leadership, financial expertise, and instrumental role in Oracle’s growth and acquisitions. Catz has played a pivotal role in shaping Oracle’s cloud computing strategy and expanding its presence in the technology industry.
Safra Catz turned CEO of Oracle Corporation
Background: Safra Catz formerly worked as lawyer and accountant and in fact is the existing CEO of Oracle Corporation.
Career Path: Catz served as a vice president in 1999 and later held the post many times before becoming CEO in 2014.
Achievements & Awards: As a CEO, Catz has successfully guided Oracle’s change to cloud computing, a well as the development of corporation new software with the industry.
Legacy: Catz leaditure at Oracle has been characterized by strategic acquisitions, collaborations and an emphasis on growing and introducing innovations. She had edited a positive change in Oracle’s emphasis on the database and cloud services which has made it to be a leading provider of the services now.
Geraldine Laybourne
Geraldine Laybourne is a respected media executive known for her significant contributions to the television industry. She co-founded Oxygen Media, a cable television network focused on women’s programming, and served as the President of Nickelodeon during its formative years, where she played a key role in developing iconic children’s programming. Laybourne is recognized for her innovative approach to content creation and her advocacy for diverse representation in media.
Geraldine Laybourne turned CEO of Oxygen Media
Background: Geraldine Laybourne was a lawyer before she entered the media field and became the successful CEO of INHD.
Career Path: Laybourne founded a boutique entertainment company in Los Angeles, which specializes in film and television production. During this period, she served as the Chief Executive Officer of Oxygen Media, a women-focused channel that started in 1998 and ended in 2007.
Achievements & Awards: Under Laybourne’s guiding hands, Oxygen Media was nothing less than a pop culture phenomena, even being associated with being an industry leader in unique programming and strategic branding.
Legacy: Laybourne, the leader of Oxygen Media, and his entrepreneurial talents are what propelled this network to become a major player in the competitive media landscape. Presidential legacy in this case was about the promotion of women in media and entertainment.
Anne Mulcahy
Anne Mulcahy is a distinguished business leader who served as the CEO and Chairman of Xerox Corporation from 2001 to 2009. She is credited with leading Xerox through a period of significant financial turmoil and transforming it into a profitable and innovative company. Mulcahy’s leadership and strategic initiatives earned her recognition as one of the most influential women in business.
Anne Mulcahy turned CEO of Xerox Corporation
Background: Anne Mulcahy is a businesswoman and lawyer who brought Xerox Corporation to the fore as its CEO.
Career Path: Mulcahy has been with Xerox since her job as a sales representative; she went on to earn a law degree and became Chief Executive Officer in 2001.
Achievements & Awards: Indeed, Mulcahy acted as the CEO who was leading Xerox through the time of transformation, which consisted in cost-cutting measures and call for restructuring to give rise to positive performance.
Legacy: Mulcahy’s leadership at the Xerox company not only revitalized the company’s business but successfully tackled challenges in the digital printing and document management markets for which Xerox is now a leader. Her control mechanism in the rapid turnaround earned her huge popularity.
Carol Bartz
Carol Bartz is a seasoned technology executive who served as the CEO of Yahoo! from 2009 to 2011. Known for her straightforward approach and no-nonsense leadership style, Bartz aimed to revitalize Yahoo! during her tenure. Despite facing challenges, she made efforts to streamline operations and forge partnerships, leaving a lasting impact on the company’s trajectory in the digital landscape.
Carol Bartz turned CEO of Autodesk and Yahoo.
Background: Carol Bartz who used to be a lawyer herself could turn her career around to leading companies like the one she owns and was being a CEO of the both Autodesk and Yahoo!
Career Path: Bartz, like every successful woman leader, transitioned from a lawyer to occupying the position of an executive in technology enterprises. As the CEO of Autodesk from 1992 to 2006 and then head strong girl of Yahoo!from 2009 to 2011.
Achievements & Awards: During the process of Bartz beeing a Fisher – CEO at Autodesk increased their productivity in the field of design software solutions, and the Yahoo! platform became a leader in the category they headed. underwent innovative strategies in its business operation that improved its product lineup and dealt with its obstacles by forming strategic alliances.
Legacy: Bartz’s ventures in technology and business have produced her being in the line of women newly referred to as most powerful in the Silicon Valley. As the former CEO of Autodesk and Yahoo!, Marissa Mayer’s leadership and experience are tough to match. hence I contributed in developing the industry as still it is a part of my life.
Marillyn Hewson
Marillyn Hewson is a highly respected business leader who served as the CEO of Lockheed Martin Corporation from 2013 to 2020. Under her leadership, Lockheed Martin experienced significant growth and success, particularly in defense and aerospace industries. Hewson is known for her strategic vision, commitment to innovation, and advocacy for diversity and inclusion in the corporate sector.
Marillyn Hewson turned CEO of Lockheed Martin Corporation
Background: Marillyn A. Hewson is a female corporate executive who brought the industry to be developed when she was the Chief Executive Officer of Lockheed Martin Corporation.
Career Path: Serving at Lockheed Martin as an industrial engineer since 1995, she consecutively graduated law school and became CEO in 2013.
Achievements & Awards: At the top position of the CEO, Hewson has been at the helm of the endeavor to design and manufacture the most complex but sophisticated military technologies, which has made Lockheed Martin an industry leader in Aerospace and Defense.
Legacy: The impact achieved by the leadership of Marily Hwason as a CEO Locking martin was an evolvement, boom, and leadership. Through her vision, dedication to excellence and her resolve for the company to demonstrate responsibility Lockheed Martin nowadays holds the top places as being the global leader in the manufacturing of aerospace and defense tools while her advocacy towards diversity and inclusion clears the way for other women who are at the top managerial positions in the future.
Conclusion
These ten women not only prove themselves as outstanding lawyers but also engage as leaders of CEOs in many fields. From reforming corporations to promoting innovation and advocating for diversity, their work continues to inspire all of us. They simply illustrate that a woman can effectively lead as long as she is ready to put in the determination and expertise required of her. Their legacy, a beacon of hope for future generations, a case in point of breaking the barriers and opening the horizons for women in business all over the world.
Note: The information provided is sourced from various websites and collected data; if discrepancies are identified, kindly reach out to us through comments for prompt correction.
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https://timesofindia.indiatimes.com/technology/tech-news/oracle-reacts-to-its-cricket-star-engineers-performance-against-pakistan-in-icc-mens-t20-world-cup-2024/articleshow/110818067.cms
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Oracle reacts to its "cricket star" engineerâs performance against Pakistan in ICC Men's T20 World Cup 2024
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2024-06-08T15:09:00+05:30
|
TECH NEWS : India-origin software engineer Saurabh Netravalkar praised by social media for bowling performance against Pakistan in ICC Men's T20 World Cup 2024. O
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en
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The Times of India
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https://timesofindia.indiatimes.com/technology/tech-news/oracle-reacts-to-its-cricket-star-engineers-performance-against-pakistan-in-icc-mens-t20-world-cup-2024/articleshow/110818067.cms
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The TOI Tech Desk is a dedicated team of journalists committed to delivering the latest and most relevant news from the world of technology to readers of The Times of India. TOI Tech Deskâs news coverage spans a wide spectrum across gadget launches, gadget reviews, trends, in-depth analysis, exclusive reports and breaking stories that impact technology and the digital universe. Be it how-tos or the latest happenings in AI, cybersecurity, personal gadgets, platforms like WhatsApp, Instagram, Facebook and more; TOI Tech Desk brings the news with accuracy and authenticity.
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| 1
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https://www.oracle.com/dk/news/announcement/nibio-selects-oci-to-improve-sustainable-forest-management-2023-04-13/
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NIBIO Selects Oracle Cloud Infrastructure Services to Improve Sustainable Forest Management
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2023-04-13T00:00:00
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Norwegian forestry research organization is using Oracle Autonomous Database and AI on Oracle Cloud Infrastructure to better understand the forest value chain and improve long-term sustainability
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da
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Oracle Danmark
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https://www.oracle.com/dk/news/announcement/nibio-selects-oci-to-improve-sustainable-forest-management-2023-04-13
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The Norwegian Institute of Bioeconomy Research (NIBIO), an independent research organization, has chosen Oracle Cloud Infrastructure (OCI) and its powerful data platform, including Oracle Autonomous Database and OCI Data Science, to support key developments in the SmartForest initiative. SmartForest is a NIBIO-led center for research-based innovation carried out in conjunction with other organizations in the Norwegian forest-based value chain.
SmartForest aims to improve the efficiency and impact of the Norwegian forest sector by using advanced technologies to transform forest information, silviculture, wood supply, and forest operations. The SmartForest initiative will enable interdisciplinary scientific researchers to harness forest data and improve forest care and management. For example, researchers will be able to use AI to analyze forest imagery from drones and laser scanning data to support decisions on forestry tasks such as tree identification and mapping, environmental impact of forest operations, and forest damage detection.
“The big issues in today’s world, such as climate change or loss of biodiversity, need to be tackled now with the right technology and tools. A forest has a lifespan of hundreds of years, and the decisions we make have very long-lasting effects on the future,” said Rasmus Astrup, Head of Research at Division of Forest and Forest Resources, NIBIO. “We use OCI to receive data from our sensors, apply the AI algorithms that we've developed to transform the data into information to support better decisions, and then store it in Oracle Autonomous Database to make it easily accessible for the end users.”
Drone imagery and scanning data will be uploaded to Oracle Autonomous Database on OCI. Using OCI Data Science with Autonomous Database to develop and manage machine learning models for rapid, low-code application development, researchers should be able to deploy large-scale, readily available AI capacity for sustainable forest management. As a converged database, Oracle Autonomous Database will enable researchers to store all data, including images and image metadata, such as geospatial information.
“Forests are diverse and dynamic, and we depend on them to provide oxygen, shelter, food, and warmth for nearly 80 percent of the earth’s species. More than ever, it's imperative we look after them,” said Richard Smith, executive vice president for Technology at Oracle EMEA. “NIBIO’s SmartForest initiative perfectly illustrates how cloud technologies can help preserve these vital support systems for life across the planet.”
|
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wrong_mix_domain_subsidiary_00002
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FactBench
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0
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https://www.newyorker.com/sports/sporting-scene/does-crossfit-have-a-future
|
en
|
Does CrossFit Have a Future?
|
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2021-07-20T06:00:00-04:00
|
Matt Hart writes about how the pandemic and accusations of racism against the former owner Greg Glassman almost destroyed the CrossFit gym brand, and the plans of the new owner, Eric Roza.
|
en
|
https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico
|
The New Yorker
|
https://www.newyorker.com/sports/sporting-scene/does-crossfit-have-a-future
|
Early on an October morning, I met Eric Roza for a workout at a CrossFit gym in Boulder, Colorado. Roza, who is fifty-three, was a few months into his tenure as the owner and chief executive of CrossFit, Inc., the preëminent gym brand of the twenty-first century. A typical class is an hour long, with a warmup and a cooldown bookending twenty to thirty minutes of punishing strength movements, Olympic lifts, gymnastics, and body-weight exercises. CrossFit is designed for general fitness or, as its disciples say, general physical preparedness for whatever life might throw at you, from helping a friend move a couch to competing in the Olympics.
I hadn’t been in a CrossFit gym in years, so I was relieved to find that the session would consist mostly of endurance work: three rounds of a five-hundred-metre row, a four-hundred-metre run, and thirty burpees. My goal was simply to keep moving and, of course, not to finish last. Rowing with a mask made the workout feel considerably harder, but voluntary hardship is the point of CrossFit. Its adherents believe that it leads to human optimization, and willingness to seek out physical adversity has helped build CrossFit’s fervent community. The workout of the day is tough, but everyone is pleasant and supportive. It’s competitive, but not ostensibly.
Boulder being Boulder, a National Geographic Adventurer who has climbed Mount Everest without supplemental oxygen finished first. Roza was third in our six-person class, limited because of COVID-19, and I finished a few minutes after him, but not last.
The pandemic accelerated a move in the fitness industry from physical locations to streaming, at-home workouts offered by brands such as Peloton, Apple Fitness+, and Mirror. Twenty per cent of CrossFit affiliate gyms closed during the pandemic, and, without a return to larger classes, even the most successful and popular ones would go out of business and stop paying fees to Roza’s company. But the pandemic wasn’t fully to blame for CrossFit’s troubles. Since its inception, in 2000, the company has been both heralded and derided for its intensity, in the gym and outside of it. Last June, in response to the killing of George Floyd, Greg Glassman, CrossFit’s founder, made statements that many people considered racist. Soon afterward, several former employees accused Glassman of sexual harassment. (Glassman denies being a racist and all accusations of sexual impropriety.)
The pandemic exposed flaws in the business plan. Societal turmoil exposed flaws in the leadership, and the allegations proved that, when Glassman needed the benefit of the doubt, it was no longer available. The math didn’t work, and he was forced to sell the company. Speaking publicly for the first time since the allegations were levied, Glassman told me, “I ran a gym I would join. Formed an affiliate program that I would participate in, wrote material that, had I seen it twenty years ago, we’d all be a whole lot fitter.” He added, “CrossFit succeeded because I was willing to tell the truth that no one else would tell. The world’s changed and I haven’t.”
Now Roza is in the process of attempting to reassemble the company’s early success. It’s difficult to see why Roza, who has an M.B.A. from Stanford, sees any promise in the brand. The answer comes from CrossFit’s long, checkered history of providing life-changing experiences for hundreds of thousands of people.
In 1972, when Greg Glassman was a teen-ager, his father bought him a Ted Williams weight-lifting set, so that he could train for gymnastics, a sport that he had become obsessed with. Jeff Glassman, a scientist at Hughes Aircraft, stressed the importance of math and the scientific method to his son.
In an attempt to simulate the way in which a difficult ring routine left him gasping for air, Greg combined a barbell-thruster exercise with pullups, twenty-one repetitions of each, then fifteen, then nine. Pressing the pace with an eye on the clock caused him to work so hard that he threw up. Then he recruited a friend to try the workout. He threw up, too.
After becoming a serial college dropout, Glassman took a job at a Gold’s Gym in Venice, California. He began putting his clients through circuits—which were made popular in the mid-seventies by Arthur Jones, the founder of Nautilus—using free weights instead of machines. This, he thought, was a way to get strong and build cardiovascular fitness simultaneously, while leaving him with measurable variables: force, distance, and time. But it went against the standard protocol: clients weren’t supposed to drop weights, rush between exercises, monopolize equipment, or climb ropes hung from the ceiling frame. Glassman found that he was also at odds with gyms’ business arrangements, which saw most employers take half of the client’s fee. He bounced between gyms and was often fired, but his clients became remarkably fit.
After training a client, Lauren Jenai, to what she called “spectacular results,” Glassman married her. In 2001, the couple opened their own gym—which they named CrossFit, for cross-discipline fitness—focussing on group classes. After Glassman posted the workouts on the Internet, so that clients could stay in shape while travelling, they began to spread through police stations, special forces, and military outposts.
Coaching is a confidence game, and it would be an understatement to say that Glassman is self-assured. He calls the name brands of the workout business “globo gyms” and argues that their business model is predicated on people signing up but not showing up. Even when people do show up, CrossFit acolytes claim, they don’t get in shape, because most gyms’ programming relies on exercise machines with pulleys that isolate and strain individual muscles but fail to properly train functional movement patterns.
CrossFit ushered in what the physical-cultural historian and author Daniel Kunitz calls the “New Frontier” of fitness. “The New Frontier athlete trains for life—to improve how she meets it and to deal productively with its pathos,” he writes. There is a “widespread embrace of suffering for something other than religious reasons.” Glassman has called CrossFit “a religion run by a biker gang.”
In 2002, a former powerlifter and research biochemist named Robb Wolf found Glassman’s Internet posts, and he and two friends began incorporating the designs into their training regimen. The group e-mailed Glassman for advice, visited him in California, and eventually asked to open the first affiliate gym—CrossFit North, in Seattle. Glassman told them he’d be honored and charged them a five-hundred-dollar annual fee to make it official, then promptly waived the payment, knowing the group had limited funds. He developed a training curriculum, which he began teaching across the country. Hundreds of aspiring trainers paid a thousand dollars to be certified by Glassman. “We told a profound and elegant truth about performance, metabolism, and chronic disease,” Glassman said. “It was like throwing a lit cigarette into dried grass.”
To open a Gold’s Gym, there are investment requirements of more than two million dollars. The initial franchise fee is forty thousand dollars, and there’s a long list of monthly expenses owed to the franchise. CrossFit affiliates, by contrast, pay only a yearly fee of three thousand dollars for the right to use the name.
By 2005, more than fifty affiliates in twenty-one states and five countries had opened, in warehouse spaces called “boxes” for their lack of gym flotsam. To this day, most CrossFit gyms remain simple, utilitarian spaces, without up-sell displays, mirrors, or rows of machines. By doing CrossFit, “you’re saving your life,” Glassman once said. “It’s health. . . . The fitness is a Trojan horse.”
Wolf became the brand’s nutrition guru, and taught the CrossFit community the supposed benefits of eating a diet that would be recognizable to our ancestors. His 2010 book, “The Paleo Solution,” became a Times best-seller.
When CrossFit began, few women were doing Olympic lifts at their local gym. The workouts effectively removed the chromosome-based gym division, where women work on cardio machines and men strain under barbells. Affiliates promoted female athletes, often pitting them against the men of other workout regimens. They mocked the expectation that women who work out should be concerned only with how small they can become. It’s not hyperbolic to say that CrossFit changed societal notions of beauty.
CrossFit also spawned innumerable businesses, as members started ventures in everything from insurance to nutrition. The Ohio-based gym-equipment manufacturer Rogue Fitness was launched to meet the demands of the new CrossFit gyms; it grew to employ hundreds of people. RxBar, which makes energy bars with ingredients that hew to CrossFit’s nutrition guidelines, sold to Kellogg’s, in 2017, for six hundred million dollars.
CrossFit’s ascent was not uninterrupted. In December, 2005, the Times published a piece titled “Getting Fit, Even if It Kills You,” which documented a CrossFit athlete who gave himself rhabdomyolysis, a condition in which muscle cells die from overexertion, resulting in possible renal failure and death. Glassman told the Times, “It can kill you. I’ve always been completely honest about that.” In fact, CrossFit had chosen as a mascot a muscular puking clown named Uncle Rhabdo.
CrossFit members embraced a narrative of redemption through physical suffering. I heard from many adherents that the daily practice of hard work spilled over into their everyday lives, making them better people, or at least capable of setting goals and achieving them. But, interspersed with aspirational photos, the company posted sexually suggestive images on Facebook, among them images of a woman with her legs spread while climbing a rope, and a woman who tripped and momentarily had her head in position for a sexual act. Photos you wouldn’t post of your friends, basically.
Coaches and gym owners with flair or specialized knowledge became independently famous. But former employees told me that, whenever someone grew too big for Glassman’s comfort, he banished them. (Glassman denies this.) After a former CrossFit trainer named Mark Twight began working with Hollywood celebrities, including the cast of the 2006 movie “300,” Glassman accused him of stealing his intellectual property.
Wolf, who had a public altercation at a CrossFit seminar with a favored Glassman employee, a former Navy SEAL named Dave Castro, was fired. “You have to kowtow and not let your star shine too brightly,” Wolf said, in 2013, of Glassman. “He’s always had this tendency toward incredible kindness, but he also has this rattlesnake intensity and cruelty.” Gym-goers were undeterred, however, and by 2015 there were eleven thousand affiliate gyms. Forbes estimated CrossFit’s revenues at a hundred million dollars, and wrote, “CrossFit CEO Greg Glassman has turned the fitness industry on its head. He’s done it, I think, by making CrossFit a mirror image of himself.” That’s not entirely true; as many have pointed out, Glassman is less Adonis and more high-school gym teacher, who, at sixty-four years old, walks with a limp from a childhood bout of polio and a gymnastics accident years later.
“Once you brand and sell fitness, you have to try to prove your version is better than all the others,” Brad Stulberg, a performance coach who has taken heat online from the CrossFit community about his health-and-fitness writing, told me. In CrossFit’s efforts to set itself apart, its most pious members defended the brand with a mocking élitism that was modelled by Glassman.
Until CrossFit, the dominant accreditation body in the fitness industry was the National Strength and Conditioning Association. In 2013, the N.S.C.A.’s Journal of Strength and Conditioning Research published a study about CrossFit’s efficacy. Out of fifty-four people who undertook a CrossFit program for ten weeks, the research claimed, nine had failed to finish, owing to injury.
The study quickly spread through the fitness world. Outside published a piece titled “Is CrossFit Killing Us?” and with the subtitle “The CrossFit backlash is in full swing—led by a long list of injured participants.” The article touted the study’s sixteen-per-cent injury rate.
Glassman and his community were incredulous, and angry. In their nearly ten thousand gyms, they had never seen such injury rates. CrossFit sued the N.S.C.A. for false advertising and unfair competition. The discovery process revealed that management at the N.S.C.A. had essentially told the researchers to add injury data where there was none. In December, 2019, a court found in CrossFit’s favor and ordered the N.S.C.A. to pay the company four million dollars in sanctions. (The N.S.C.A. declined to comment, except to say that the matter was settled without any admission of liability.)
All physical pursuits come with risks. Of my personal obsessions, running has uniquely gruesome statistics. The numbers are imprecise, but it’s often estimated that between forty and eighty per cent of runners will injure themselves in a given year. In my experience, these estimates are likely low. But this does little to diminish the elegance of such a simple and effective mode of exercise.
I was injured during my second time in a CrossFit gym. In an off-season effort to regain some foundational strength I had lost after a decade of ultra-endurance racing, I paid to work with a trainer. He began by testing me. Baselines are important in the gym, and essential in CrossFit. We started by doing jump squats with a weighted seven-foot barbell across my shoulders. I didn’t notice that the weight was lifting off my upper back at the top of the jump and coming down on my spine when I landed. Neither did the trainer. The following day I awoke to neck pain and a bruise. More than seven years later, I can’t sleep on my stomach, lest I risk a day of not being able to turn my head.
My next foray into CrossFit was more fruitful. Down the street from me in Salt Lake City, where I was living, was a gym run by a former college-football player, Tommy Hackenbruck, who had a vibrant CrossFit community. Hackenbruck, a hulking yet gracious man, coached me to proper form and then provided me with workouts to do on my own. A combination of regular CrossFit classes and Hackenbruck’s individual programming worked well for me, and I became considerably stronger, more agile, and more confident in my athletic abilities that off-season.
On June 5, 2020, a co-owner of a Seattle affiliate, Alyssa Royse, posted to her gym’s Web site an e-mail exchange she had with Glassman. She had challenged management about what she considered their “moral ambiguity . . . in the face of both COVID and the massive social unrest the US is now reckoning with,” and added that her gym was likely to de-affiliate because of it.
“I sincerely believe the quarantine has adversely impacted your mental health,” Glassman had replied. “You’ve let your politics warp you into something that strikes me as wrong to the point of being evil. I am ashamed of you.”
The next day, during a Zoom call with a group of affiliates, an owner in Minnesota asked why corporate headquarters had remained silent during the national unrest over racial injustice. “We’re not mourning for George Floyd. I don’t think me or any of my staff are,” Glassman said, according to a recording of the meeting published by BuzzFeed News and reviewed by The New Yorker. “Can you tell me why I should mourn for him? Other than that it’s the ‘white’ thing to do.” He then mentioned a conspiracy theory about Floyd, who he said was murdered in an effort to silence him over his involvement in a counterfeit-money ring, citing inside information from the F.B.I. in the affiliate’s Minnesota neighborhood.
Later that day, the Institute for Health Metrics and Evaluation tweeted that racism and discrimination were “critical public health issues that demand an urgent response.” Frustrated with what he saw as the I.H.M.E.’s role in shutting down the economy, which Glassman believed disproportionately harmed minority communities, he responded, “It’s FLOYD-19.”
Within forty-eight hours, a reported three hundred CrossFit boxes had pledged to de-affiliate. Some of the brand’s famous athletes denounced Glassman’s comments and said that they would withdraw from the upcoming CrossFit Games—the company’s annual competition to crown the “Fittest on Earth.” Reebok, which was nearing the end of a ten-year Games sponsorship deal, announced that it would not renew its contract.
On June 7th, one of CrossFit’s longest-tenured employees, Nicole Carroll, called Glassman and resigned. “I didn’t see a way forward that I believed in anymore, not on the mission level, but on a leadership level,” she told me. “I can’t align with Greg anymore.”
Two days later, Glassman stepped down as C.E.O. and announced his retirement on the CrossFit Web site. He handed over the chief-executive role to Dave Castro, his longtime lieutenant. But many people in the CrossFit community think that Castro can be as abrasive as the founder himself. Commenters on social media called Glassman a racist and Castro (who is Mexican-American) complicit. They demanded that Glassman sell the company to save CrossFit. “I equate being a racist with being stupid,” Glassman told me.
Soon, the Times published accusations of workplace sexual harassment by Glassman. Among the claims were an account of a former employee who was paid by Glassman in lieu of a sexual-harassment lawsuit, a lewd Wi-Fi password used in the San Diego CrossFit office (as well as in Glassman’s home, according to his ex-wife), and an environment in which the founder demeaned women, openly assessing whether he’d have sex with them.
Glassman denies any accusations of sexual harrassment, and explained to me that there was a sexually charged office environment that was “fucking one-hundred-per-cent consensual in all directions.” Glassman added, of the way in which he ran the business, “I’m proud of the way everyone was treated and the way I treated everyone. I have no regrets.”
A couple of months after our workout, I met Roza at the new CrossFit offices, a block from a Whole Foods Market in north Boulder. A row of standing desks is flanked by a kitchen and a mini-gym outfitted with new Rogue equipment. A conference room has a view of Mt. Sanitas, a popular peak named for the sanitarium, an early health resort, that once sat on its lower slopes.
In appearance, Roza is everything you’d expect from the chief executive of a global fitness brand. He’s muscular, with a shaved head; he drives a Tesla and has a subscription to The New Yorker but admits that he’s too busy to read it. A self-described “math guy,” Roza attended the University of Michigan, then worked in management consulting for Bain & Company and in the music industry before matriculating at Stanford.
His introduction to CrossFit is a familiar story. Caught up in the reinvigorated interest around long-distance running caused by the best-seller “Born to Run,” he hired a coach to get him to his goal of a three-hour marathon. He tried ChiRunning and ran in “barefoot” shoes, but ended up injured.
“I had magic the first time,” he said, of CrossFit. He was forty years old, but he found that the varied workouts made him resilient to many of life’s insults. It was such a dramatic, world-changing discovery that Roza started to think about buying the company. But, when he put out feelers, he said, “It was ‘There is no way in hell Glassman will ever sell the company.’ ”
Instead, in 2013, Roza opened a CrossFit gym in Boulder with his now ex-wife. At the time, he was the C.E.O. of DataLogix, a marketing data-analytics firm that he had founded. When the company was acquired by Oracle for more than a billion dollars, in 2014, he stayed on to run Oracle’s data-cloud business and brought CrossFit with him, opening two separate gym spaces at the corporate offices in Westminster, Colorado. Roza, who left Oracle in 2019, says that CrossFit improved the data-cloud division’s business relations by breaking down its hierarchy.
When Glassman stepped down, a friend of Roza’s named David Woods connected the two men. Now, Glassman was open to selling. He said that he had a number and that, if Roza could meet it, he would consider selling. The founder sent his chief financial officer and his private plane to bring Roza and Woods to Santa Barbara, where, for nine hours, Glassman pontificated, describing the business environment and what he felt CrossFit should focus on. “Business is the art and science of offering uniquely attractive opportunities for other people,” Glassman told me.
That night, in his hotel room, Roza felt that he was letting the opportunity slip through his fingers. He hadn’t said much during the meeting, and knew that he hadn’t made a significant impression on the founder. The next day he took the whiteboard marker from Glassman’s hand and laid out a plan for the brand with such passion that he teared up.
Roza followed up over text with an offer. Roza said that Glassman wrote back, “Yes!! Yes!! Yes!!.” In late June, Roza visited headquarters, met Castro and the team, then took calls with dozens of people who felt disenchanted with the CrossFit brand.
Glassman’s number was two hundred million dollars. He would keep the company’s two corporate planes, and he made it clear that there would be no negotiating. Buoyed by the community’s encouragement, Roza, backed by investment from the private-equity firm Berkshire Partners, signed the paperwork.
All of the CrossFit Games athletes who had denounced Glassman returned to compete this past October. Of the three hundred gyms that threatened to de-affiliate, less than half followed through. Nicole Carroll even returned to her role as the head of the CrossFit seminar business.
Roza has launched a diversity council and created a seven-million-dollar endowment to fund public-health programs in underserved communities. He aims to have a hundred million people doing CrossFit within ten years, a plan that depends on the success of the affiliate gyms. So far this has included more guidance about class management, along with a program that CrossFit calls “The Affiliate Roundtable,” in which a group of eight gym owners meet twice a week with a moderator, over Zoom, to discuss personal and professional issues in a confidential setting. “It’s peer mentorship, almost like a group therapy session,” Roza said. But it’s not mandatory. “We have a credo of tools over rules.”
Yet it’s still to be seen whether Roza can bring CrossFit back from the brink. Glassman ran the business without oversight and turned down innumerable opportunities—from CrossFit-branded fish oil to CrossFit weight-lifting chalk—that Roza may now have to consider in an effort to increase revenue and placate his investors. “I didn’t do this for the money,” Roza told me. “The reason I’m doing this is because I’m completely in love with CrossFit and I want to bring it to other people.”
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wrong_mix_domain_subsidiary_00002
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https://www.prnewswire.com/news-releases/digital-realty-and-oracle-strengthen-partnership-through-second-oracle-cloud-region-in-france-301587763.html
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Digital Realty and Oracle Strengthen Partnership through Second Oracle Cloud Region in France
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2022-07-18T07:00:00-04:00
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/PRNewswire/ -- Interxion: A Digital Realty Company (NYSE: DLR), a leading provider of cloud- and carrier-neutral data center, colocation and interconnection...
|
en
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/content/dam/prnewswire/icons/2019-Q4-PRN-Icon-32-32.png
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Oracle Cloud Infrastructure services are now available from Oracle Paris Cloud Region in Interxion's Paris Digital Park (IPDP), the largest data center campus in France, located less than three kilometers from Paris
Companies can now implement their digital transformation strategies and deploy hybrid and multi-cloud while reducing their environmental impact
PARIS, July 18, 2022 /PRNewswire/ -- Interxion: A Digital Realty Company (NYSE: DLR), a leading provider of cloud- and carrier-neutral data center, colocation and interconnection solutions in EMEA, today announced that it is providing its customers located in Interxion's Paris data center campus with direct and secure access to Oracle Cloud Infrastructure (OCI) via the new Oracle Cloud Paris Region.
Within Interxion Paris Digital Park (IPDP), Interxion's largest campus in France located just three kilometers from Paris, customers can deploy their critical infrastructure and be supported in their digital transformation by gaining access to one of the leading cloud and interconnection hubs in Europe and the fourth largest internet hub in the world as of today.
The decision to open Oracle's second cloud region in Paris, France, was made in direct response to the growing demand for hybrid cloud services emanating from the public sector, as well as enterprises and SMEs. This development marks the opening of Oracle's 38th cloud region worldwide, which is one of the fastest expansions of a major cloud provider.
Christophe Negrier, SVP EMEA South, Cloud Business and Managing Director, Oracle France, comments: "After the opening of our first cloud region in Marseille, we have selected Interxion again to help deploy our critical infrastructure and offer Oracle Cloud Infrastructure via our newest cloud region in Paris. This relationship is based on a common objective to support the digital transformation of companies by limiting their environmental impact. Interxion France's corporate social responsibility (CSR) policy has thus proved to be an important criterion of choice for us, particularly in view of their contribution to carbon neutrality for scopes one and two. In addition, Interxion's use of renewable energy corresponds to Oracle's commitment to sustainability and its pledge to power all Oracle Cloud regions worldwide with 100 percent renewable energy by 2025, which is already the case in all of our data centers in Europe."
The opening of Oracle's second cloud region with Interxion in France is a logical extension of its existing partnership, both at a local level, following the launch of its first cloud region in Marseille last year, and at a global level with Digital Realty. Through PlatformDIGITAL®, Digital Realty's global data center platform, customers have access to top-tier cloud providers like Oracle Cloud Infrastructure, as well a platform of several densely populated connected data communities that includes 1,500+ enterprises, 1,200+ network service providers, and 1,100+ cloud and IT providers as of today, all via a single data center provider.
Fabrice Coquio, SVP, Digital Realty & Managing Director, Interxion France, comments: "We are very excited to welcome Oracle's second cloud region in France to Interxion. This partnership enriches our value offering for our customer communities by removing the barriers associated with the adoption of hybrid and multi-cloud environments in the Paris market. It is also satisfying to see that our commitment to reducing the environmental impact of our data centers was a key factor in Oracle's decision to select Interxion again. We are proud to provide this level of service while supporting companies in their digital and environmental transformations."
About Interxion: A Digital Realty Company
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SOURCE Digital Realty
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https://en.wikipedia.org/wiki/Biosphere_2
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Biosphere 2
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https://en.wikipedia.org/wiki/Biosphere_2
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Closed ecological research centre in Arizona
University of Arizona Biosphere 2 is an American Earth system science research facility located in Oracle, Arizona. Its mission is to serve as a center for research, outreach, teaching, and lifelong learning about Earth, its living systems, and its place in the universe.[1] It is a 3.14-acre (1.27-hectare)[2] structure originally built to be an artificial, materially closed ecological system, or vivarium. It remains the largest closed ecological system ever created.[3]
Constructed between 1987 and 1991, Biosphere 2 was originally meant to demonstrate the viability of closed ecological systems to support and maintain human life in outer space[4] as a substitute for Earth's biosphere. It was designed to explore the web of interactions within life systems in a structure with different areas based on various biological biomes. In addition to the several biomes and living quarters for people, there was an agricultural area and work space to study the interactions between humans, farming, technology and the rest of nature as a new kind of laboratory for the study of the global ecology. Its mission was a two-year closure experiment with a crew of eight humans. Long-term it was seen as a precursor to gaining knowledge about the use of closed biospheres in space colonization. As an experimental ecological facility it allowed the study and manipulation of a mini biospheric system without harming Earth's biosphere.
Its seven biome areas were a 1,900-square-meter (20,000 sq ft) rainforest, an 850-square-meter (9,100 sq ft) ocean with a coral reef, a 450-square-meter (4,800 sq ft) mangrove wetlands, a 1,300-square-metre (14,000 sq ft) savannah grassland, a 1,400-square-meter (15,000 sq ft) fog desert, and two anthropogenic biomes: a 2,500-square-meter (27,000 sq ft) agricultural system and a human habitat with living spaces, laboratories and workshops. Below ground was an extensive part of the technical infrastructure. Heating and cooling water circulated through independent piping systems and passive solar input through the glass space frame panels covering most of the facility, and electrical power was supplied into Biosphere 2 from an onsite natural gas power plant.[2]
Biosphere 2 was only used twice for its original intended purposes as a closed-system experiment: once from 1991 to 1993, and the second time from March to September 1994. Both attempts ran into problems including low amounts of food and oxygen, die-offs of many animals and plants included in the experiment (though this was anticipated since the project used a strategy of deliberately "species-packing" anticipating losses as the biomes developed), group dynamic tensions among the resident crew, outside politics, and a power struggle over management and direction of the project. The second closure experiment achieved total food sufficiency and did not require injection of oxygen.[5]
In June 1994, during the middle of the second experiment, the managing company, Space Biosphere Ventures, was dissolved, and the facility was left in limbo. Columbia University assumed management of the facility in 1995 and used it to run experiments until 2003. It then appeared to be in danger of being demolished to make way for housing and retail stores, but was taken over for research by the University of Arizona in 2007. The University of Arizona took full ownership of the structure in 2011. Research continues at the facility while also being a place that is open to the public.
Planning and construction
[edit]
The Biosphere 2 project was launched in 1984 by businessman and billionaire philanthropist Ed Bass and systems ecologist John P. Allen, with Bass providing US$150 million in funding until 1991.[6] Bass and Allen had met in the 1970s at the Synergia Ranch, a counterculture community led by Allen, who advocated Buckminster Fuller's "Spaceship Earth" concept and explored the idea of biospheres as a refuge from disasters such as nuclear war.[6] Several other former members of Synergia Ranch also joined the Biosphere 2 project.[6]
Construction was carried out between 1987 and 1991 by Space Biosphere Ventures, a joint venture whose principal officers were John P. Allen, inventor and executive chairman; Margaret Augustine, CEO; Marie Harding, vice-president of finance; Abigail Alling, vice president of research; Mark Nelson, director of space and environmental applications, William F. Dempster, director of system engineering, and Norberto Alvarez-Romo, vice president of mission control.[citation needed]
It was named "Biosphere 2" because it was meant to be the second fully self-sufficient biosphere, after the Earth itself ("Biosphere 1").
Location
[edit]
The glass and spaceframe facility is located in Oracle, Arizona at the base of the Santa Catalina Mountains, about 50 minutes north of Tucson. Its elevation is around 4,000 feet (1,200 m) above sea level.[7]
Engineering
[edit]
The above-ground physical structure of Biosphere 2 was made of steel tubing and high-performance glass and steel frames. The frame and glazing materials were designed and made to specification by a firm run by a one-time associate of Buckminster Fuller, Peter Jon Pearce (Pearce Structures, Inc.).[8][9] The window seals and structures had to be designed to be almost perfectly airtight, such that the air exchange would be extremely low, permitting tracking of subtle changes over time. The patented airtight sealing methods, developed by Pearce and William Dempster, achieved a leak rate of less than 10% per year. Without such tight closure, the slow decline of oxygen which occurred at a rate of less than 1⁄4% per month during the first two-year closure experiment might not have been detected.[10][11][12]
During the day, the heat from the sun caused the air inside to expand and during the night it cooled and contracted. To avoid having to deal with the huge forces that maintaining a constant volume would create, the structure had large diaphragms kept in domes called "lungs" or variable volume structures.[13]
Since opening a window was not an option, the structure also required a sophisticated system to regulate temperatures within desired parameters, which varied for the different biomic areas. Though cooling was the largest energy need, heating had to be supplied in the winter and closed loop pipes and air handlers were key parts of the energy system. An energy center on site provided electricity and heated and cooled water, employing natural gas and backup generators, ammonia chillers and water cooling towers.[14]
First mission
[edit]
External videos Odyssey in Two Biospheres – documentary film with historical footage of the first mission of Biosphere 2, reflections from three of the original mission members, and their life after re-entry into Biosphere 1 (full episode)
The first closed mission lasted from September 26, 1991, to September 26, 1993. The crew were: medical doctor and researcher Roy Walford, Jane Poynter, Taber MacCallum, Mark Nelson, Sally Silverstone, Abigail Alling, Mark Van Thillo, and Linda Leigh.[15]
The agricultural system produced 83% of the total diet, which included crops of bananas, papayas, sweet potatoes, beets, peanuts, lablab and cowpea beans, rice, and wheat.[16][17] Especially during the first year, the eight inhabitants reported continual hunger. Calculations indicated that Biosphere 2's farm was amongst the highest producing in the world "exceeding by more than five times that of the most efficient agrarian communities of Indonesia, southern China, and Bangladesh".[18]
They consumed the same low-calorie, nutrient-dense diet that Roy Walford had studied in his research on extending lifespan through diet.[19] Medical markers indicated the health of the crew during the two years was excellent. They showed the same improvement in health indices such as lowering of blood cholesterol, blood pressure, enhancement of immune system. They lost an average of 16% of their pre-entry body weight before stabilizing and regaining some weight during their second year.[20] Subsequent studies showed that the biospherians' metabolism became more efficient at extracting nutrients from their food as an adaptation to the low-calorie, high nutrient diet.[21]
Some of the domestic animals that were included in the agricultural area during the first mission included: four African pygmy goat does and one billy; 35 hens and three roosters (a mix of Indian jungle fowl (Gallus gallus), Japanese silky bantam, and a hybrid of these); two sows and one boar Ossabaw dwarf pigs; and tilapia fish grown in a rice and azolla pond system originating millennia ago in China.[22]
A strategy of "species-packing" was practiced to ensure that food webs and ecological function could be maintained if some species did not survive. The fog desert area became more chaparral in character due to condensation from the space frame. The savannah was seasonally active; its biomass was cut and stored by the crew as part of their management of carbon dioxide. Rainforest pioneer species grew rapidly, but trees there and in the savannah suffered from etiolation and weakness caused by lack of stress wood, normally created in response to winds in natural conditions. Corals reproduced in the ocean area, and crew helped maintain ocean system health by hand-harvesting algae from the corals, manipulating calcium carbonate and pH levels to prevent the ocean becoming too acidic, and by installing an improved protein skimmer to supplement the algae turf scrubber system originally installed to remove excess nutrients. The mangrove area developed rapidly but with less understory than a typical wetland possibly because of reduced light levels.[23] Nevertheless, it was judged to be a successful analogue to the Everglades area of Florida where the mangroves and marsh plants were collected.[24]
Biosphere 2, because of its small size and buffers, and concentration of organic materials and life, had greater fluctuations and more rapid biogeochemical cycles than are found in Earth's biosphere.[25] Most of the introduced vertebrate species and virtually all of the pollinating insects died, though there was reproduction of plants and animals.[26] Insect pests, like cockroaches, flourished. A globally invasive tramp ant species, Paratrechina longicornis had come to dominate other ant species.[27] The planned ecological succession in the rainforest and strategies to protect the area from harsh incident sunlight and salt aerosols from the ocean worked well, and a surprising amount of the original biodiversity persisted.[28] Biosphere 2 in its early ecological development was likened to an island ecology.[29]
Group dynamics: psychology, conflict, and cooperation
[edit]
Much of the evidence for isolated human groups comes from psychological studies of scientists overwintering in Antarctic research stations.[30] The study of this phenomenon is "confined environment psychology" (cf. environmental psychology); according to Jane Poynter,[31][32] it was known to be a challenge and crews often split into factions.[33]
Before the first closure mission was half over, the group had split into two factions and, according to Poynter, people who had been intimate friends had become implacable enemies, barely on speaking terms.[34] "Appreciation of the value of biosphere interconnectedness and interdependency was appreciated as both an everyday beauty and a challenging reality,"[35] Walford later acknowledged, "I don't like some of them, but we were a hell of a team. That was the nature of the factionalism... but despite that, we ran the damn thing and we cooperated totally."[36]
The factions inside the bubble formed from a rift and power struggle between the joint venture partners on how the science should proceed, as biospherics or as specialist ecosystem studies (perceived as reductionist). The faction that included Poynter felt strongly that increasing research should be prioritized over degree of closure. The other faction backed project management and the overall mission objectives. On February 14, a portion of the Scientific Advisory Committee (SAC) resigned.[37] Time magazine wrote: "Now, the veneer of credibility, already bruised by allegations of tamper-prone data, secret food caches and smuggled supplies, has cracked ... the two-year experiment in self-sufficiency is starting to look less like science and more like a $150 million stunt."[38] The SAC was dissolved because it had deviated from its mandate to review and improve scientific research and became involved in advocating management changes. Some SAC members chose to remain as consultants to Biosphere 2. The SAC's recommendations in their report were implemented including a new Director of Research Jack Corliss, allowing import/export of scientific samples and equipment through the facility airlocks to increase research and decrease crew labor, and to generate the lacking formal research program. Some sixty-four projects were included in the research program that Walford and Alling spearheaded developing.[39]
Undoubtedly the reduced oxygen and the calorie-restricted, nutrient-dense diet[40] contributed to low morale.[41] The Alling faction feared that the Poynter group were prepared to go so far as to import food, if it meant making them fitter to carry out research projects. They considered that would be a project failure by definition.
In November 1992, the hungry Biospherians began eating seed stocks that had not been grown inside the Biosphere 2.[42] Poynter made Chris Helms, PR Director for the enterprise, aware of this. She was promptly dismissed by Margret Augustine, CEO of Space Biospheres Ventures, and told to come out of the biosphere. This order was, however, never carried out. Poynter writes[43] that she simply decided to stay put, correctly reasoning that the order could not be enforced without effectively terminating the closure.
Isolated groups tend to attach greater significance to group dynamic and personal emotional fluctuations common in all groups. Some reports from polar station crews exaggerated psychological problems.[44] Although some of the first closure team thought they were depressed, psychological examination of the biospherians showed no depression and fit the explorer/adventurer profile, with both women and men scoring very similarly to astronauts.[45]
Challenges
[edit]
Among the problems and miscalculations encountered in the first mission were unanticipated condensation making the "desert" too wet, population explosions of greenhouse ants and cockroaches, morning glories overgrowing the rainforest area blocking out other plants, and less sunlight (40–50% of outside light) entering the facility than originally anticipated. Biospherians intervened to control invasive plants when needed to preserve biodiversity, functioning as "keystone predators". In addition, construction itself was a challenge; for example, it was difficult to manipulate the bodies of water to have waves and tidal changes.[46][47]
There was controversy when the public learned that the project had allowed an injured member to leave and return, carrying new material inside. The team claimed the only new supplies brought in were plastic bags, but others accused them of bringing food and other items. More criticism was raised when it was learned that, likewise, the project injected oxygen in January 1993 to make up for a failure in the balance of the system that resulted in the amount of oxygen steadily declining.[48] Some thought that these criticisms ignored that Biosphere 2 was an experiment where the unexpected would occur, adding to knowledge of how complex ecologies develop and interact, not a demonstration where everything was known in advance.[49] H. T. Odum noted: "The management process during 1992–1993 using data to develop theory, test it with simulation, and apply corrective actions was in the best scientific tradition. Yet some journalists crucified the management in the public press, treating the project as if it was an Olympic contest to see how much could be done without opening the doors".[50]
The oxygen inside the facility, which began at 20.9%, fell at a steady pace and after 16 months was down to 14.5%. This is equivalent to the oxygen availability at an elevation of 4,080 metres (13,390 ft).[51] Since some biospherians were starting to have symptoms like sleep apnea and fatigue, Walford and the medical team decided to boost oxygen with injections in January and August 1993. The oxygen decline and minimal response of the crew indicated that changes in air pressure are what trigger human adaptation responses. These studies enhanced the biomedical research program.[52]
Managing CO2 levels was a particular challenge. Daily fluctuation of carbon dioxide dynamics was typically 600 ppm because of the strong drawdown during sunlight hours by plant photosynthesis, followed by a similar rise during the nighttime when system respiration dominated. As expected, there was also a strong seasonal signature to CO2 levels, with wintertime levels as high as 4,000–4,500 ppm and summertime levels near 1,000 ppm.
The crew worked to manage the CO2 by occasionally turning on a CO2 scrubber, after realizing that activating and de-activating the desert and savannah through control of irrigation water, cutting and storing biomass to sequester carbon, and utilizing all potential planting areas with fast-growing species to increase system photosynthesis, wouldn't be enough to sustain human life.[53] In November 1991, investigative reporting in The Village Voice alleged that the crew had secretly installed the CO2 scrubber device, and claimed that this violated Biosphere 2's advertised goal of recycling all materials naturally.[54] Others pointed out there was nothing secret about the carbon dioxide device and it constituted another technical system augmenting ecological processes. The carbon precipitator could reverse the chemical reactions and thus release the stored carbon dioxide in later years when the facility might need additional carbon.[53]
The soils were selected to have enough carbon to provide for the plants of the ecosystems to grow from infancy to maturity, a plant mass increase calculated to be 20 short tons (18,000 kg).[55] The release rate of that soil carbon as carbon dioxide by respiration of soil microbes was an unknown that the Biosphere 2 experiment was designed to reveal. Subsequent research showed that Biosphere 2's farm soils had reached a more stable ratio of carbon and nitrogen, lowering the rate of CO2 release, by 1998.[56]
The respiration rate was faster than the photosynthesis (possibly in part due to relatively low light penetration through the glazed structure and the fact that Biosphere 2 started with a small but rapidly increasing plant biomass) resulting in a slow decrease of oxygen. A mystery accompanied the oxygen decline: the corresponding increase in carbon dioxide did not appear. This concealed the underlying process until an investigation by Jeff Severinghaus and Wallace Broecker of Columbia University's Lamont–Doherty Earth Observatory using isotopic analysis showed that carbon dioxide was reacting with exposed concrete inside Biosphere 2 to form calcium carbonate in a process called carbonatation, thereby sequestering both carbon and oxygen.[57]
Second mission
[edit]
After Biosphere 2's first mission, extensive research and system improvements were undertaken, including sealing concrete to prevent the uptake of carbon dioxide. The second mission began on March 6, 1994, with an announced run of ten months. The crew was Norberto Alvarez-Romo (Capt.), John Druitt, Matt Finn, Pascale Maslin, Charlotte Godfrey, Rodrigo Romo and Tilak Mahato. The second crew achieved complete sufficiency in food production.[5]
On April 1, 1994, a severe dispute within the management team led to the ousting of the on-site management by federal marshals serving a restraining order, and financier Ed Bass hired Steve Bannon, then-manager of the Bannon & Co. investment banking team from Beverly Hills, California, to run Space Biospheres Ventures. The project was put into receivership and an outside management team was installed for the receiver to turn around the floundering project. The reason for the dispute was threefold. Mismanagement of the mission had caused terrible publicity, financial mismanagement and lack of research. People[who?] alleged gross financial mismanagement of the project, leading to a loss of $25 million in fiscal year 1992.[58] Some crew members and staff were concerned about Bannon, who had previously investigated cost overruns at the site; two former Biosphere 2 crew members flew back to Arizona to protest the hire and broke into the compound to warn the crew members that Bannon and the new management would jeopardize their safety.[59]
At 3 a.m. on April 5, 1994, Abigail Alling and Mark Van Thillo, members of the first crew, allegedly vandalized the project from outside,[60] opening one double-airlock door and three single door emergency exits, leaving them open for about 15 minutes. Five panes of glass were also broken. Alling later told the Chicago Tribune that she "considered the Biosphere to be in an emergency state ... In no way was it sabotage. It was my responsibility."[61] About 10% of the Biosphere's air was exchanged with the outside during this time, according to systems analyst Donella Meadows, who received a communication from Alling saying that she and Van Thillo judged it their ethical duty to give those inside the choice of continuing with the drastically changed human experiment or leaving, as they didn't know what the crew had been told of the new situation. "On April 1, 1994, at approximately 10 AM ... limousines arrived on the biosphere site ... with two investment bankers hired by Mr. Bass ... They arrived with a temporary restraining order to take over direct control of the project ... With them were 6-8 police officers hired by the Bass organization ... They immediately changed locks on the offices ... All communication systems were changed (telephone and access codes), and [we] were prevented from receiving any data regarding safety, operations, and research of Biosphere 2." Alling emphasized several times in her letter that the "bankers" who suddenly took over "knew nothing technically or scientifically, and little about the biospherian crew".[62]
Four days later, the captain Norberto Alvarez-Romo (by then married to Biosphere 2 chief executive Margaret Augustine) precipitously left the Biosphere for a "family emergency" after his wife's suspension.[61] He was replaced by Bernd Zabel, who had been nominated as captain of the first mission but who was replaced at the last minute. Two months later, Matt Smith replaced Matt Finn.[citation needed]
The ownership and management company Space Biospheres Ventures was dissolved on June 1, 1994. This left the scientific and business management of the mission to the interim turnaround team, who had been contracted by the financial partner, Decisions Investment Co.[51]
Mission 2 was ended prematurely on September 6, 1994. No further total system science has emerged from Biosphere 2 as the facility was changed by Columbia University from a closed ecological system to a "flow-through" system where CO2 could be manipulated at desired levels.[51]
Steve Bannon left Biosphere 2 after two years, but his departure was marked by an "abuse of process" civil lawsuit filed against Space Biosphere Ventures by the former crew members who had broken in.[63] Leading managers of Biosphere 2 from the original founding group stated both abusive behaviour by Bannon and others, and that the bankers’ actual goal was to destroy the experiment.[64] During a 1996 trial, Bannon testified that he had called one of the plaintiffs, Abigail Alling, a "self-centered, deluded young woman" and a "bimbo".[65] He also testified that when the woman submitted a five-page complaint outlining safety problems at the site, he promised to shove the complaint "down her throat". Bannon attributed this to "hard feelings and broken dreams".[66] At the end of the trial, the court ruled in favor of the plaintiffs and ordered Space Biosphere Ventures to pay them $600,000.[59]
Science
[edit]
A special issue of the Ecological Engineering journal edited by Marino and Howard T. Odum and published in 1999 as "Biosphere 2: Research Past and Present" represents the most comprehensive assemblage of collected papers and findings from Biosphere 2.[67] The papers range from calibrated models that describe the system metabolism, hydrologic balance, and heat and humidity, to papers that describe rainforest, mangrove, ocean, and agronomic system development in this carbon dioxide-rich environment.[68][69] Though several dissertations and many scientific papers used data from the early closure experiments at Biosphere 2, much of the original data has never been analyzed and is unavailable or lost, perhaps due to scientific politics and in-fighting.[70][39]
Science historian Rebecca Redier has claimed that because Biosphere 2's creators were perceived as outsiders to academic science, the project was scrutinized but poorly understood in the media, and that this scrutiny ceased after Columbia University assumed management, because it was assumed they were "proper" scientists.[36]
Praise and criticism
[edit]
One view of Biosphere 2 was that it was "the most exciting scientific project to be undertaken in the United States since President John F. Kennedy launched us toward the moon".[71] Others called it "New Age drivel masquerading as science".[72] John Allen and Roy Walford did have mainstream credentials. John Allen held a degree in Metallurgical-Mining Engineering from the Colorado School of Mines, and an MBA from the Harvard Business School.[22][73] Roy Walford received his doctorate of medicine from the University of Chicago and taught at UCLA as a Professor of Pathology for 35 years. Mark Nelson obtained his Ph.D. in 1998 under Professor H.T. Odum in ecological engineering further developing the constructed wetlands used to treat and recycle sewage in Biosphere 2,[74] to coral reef protection along the Yucatán coast where the corals were collected.[75] Linda Leigh obtained her PhD with a dissertation on biodiversity and the Biosphere 2 rainforest working with Odum.[76] Abigail Alling, Mark van Thillo and Sally Silverstone helped start the Biosphere Foundation where they worked on coral reef and marine conservation and sustainable agricultural systems.[77] Jane Poynter and Taber MacCallum co-founded Paragon Space Development Corporation which has studied the first mini-closed system and the first full animal life cycle in space and assisted in setting world records in high altitude descents.[78]
Questioning the credentials of the participants, Marc Cooper wrote that "the group that built, conceived, and directs the Biosphere project is not a group of high-tech researchers on the cutting edge of science but a clique of recycled theater performers that evolved out of an authoritarian—and decidedly non-scientific—personality cult".[79] He was referring to the Synergia Ranch in New Mexico, where indeed many of the Biospherians did practice theater under John Allen's leadership, and began to develop the ideas behind Biosphere 2.[80] They also founded the Institute of Ecotechnics.[81]
One of their own scientific consultants was earlier critical. Ghillean Prance, director of the Royal Botanical Gardens in Kew, designed the rainforest biome inside the Biosphere. Although he later changed his opinion, acknowledging the unique scope of this experiment and contributed to its success as a consultant, in a 1983 interview (8 years before the start of the experiment), Prance said, "I was attracted to the Institute of Ecotechnics because funds for research were being cut and the institute seemed to have a lot of money which it was willing to spend freely. Along with others, I was ill-used. Their interest in science is not genuine. They seem to have some sort of secret agenda, they seem to be guided by some sort of religious or philosophical system." Prance went on in the 1991 newspaper interview to say "they are visionaries ... And maybe to fulfill their vision they have become somewhat cultlike. But they are not a cult, per se ... I am interested in ecological restoration systems. And I think all sorts of scientific things can come of this experiment, far beyond the space goal ... When they came to me with this new project, they seemed so well organized, so inspired, I simply decided to forget the past. You shouldn't hold their past against them."[82]
Poynter in her memoir rebuts the critique that because some of the creative team of Biosphere 2 were not credentialed scientists, the results of the endeavor are invalid. "Some reporters hurled accusations that we were unscientific. Apparently because many of the SBV managers were not themselves degreed scientists, this called into question the entire validity of the project, even though some of the world’s best scientists were working vigorously on the project’s design and operation. The critique was not fair. Since leaving Biosphere 2, I have run a small business for ten years that sent experiments on the shuttle and to the space station, and is designing life support systems for the replacement shuttle and future moon base. I do not have a degree, not even an MBA from Harvard, as John [Allen] had. I hire scientists and top engineers. Our company’s credibility is not called into question because of my credentials: we are judged on the quality of our work".[83] H.T. Odum noted that mavericks and outsiders have often contributed to the development of science: "The original management of Biosphere 2 was regarded by many scientists as untrained for lack of scientific degrees, even though they had engaged in a preparatory study program for a decade, interacting with the international community of scientists including the Russians involved with closed systems. The history of science has many examples where people of atypical background open science in new directions, in this case implementing mesocosm organization and ecological engineering with fresh hypotheses".[84]
In its report of August 1992, the Biosphere 2 Science Advisory Committee, chaired by Tom Lovejoy of the Smithsonian Institution, reported: "The committee is in agreement that the conception and construction of Biosphere 2 were acts of vision and courage. The scale of Biosphere 2 is unique and Biosphere 2 is already providing unexpected scientific results not possible through other means (notably the documented, unexpected decline in atmospheric oxygen levels.) Biosphere 2 will make important scientific contributions in the fields of biogeochemical cycling, the ecology of closed ecological systems, and restoration ecology." Columbia University assembled outside scientists to evaluate the potential of the facility after they took over management, and concluded the following: "A group of world-class scientists got together and decided the Biosphere 2 facility is an exceptional laboratory for addressing critical questions relative to the future of Earth and its environment."[85]
Management by Columbia University
[edit]
In December 1995, the Biosphere 2 owners transferred management to Columbia University of New York City.[86] Columbia ran Biosphere 2 as a research site and campus until 2003.[87] Subsequently, management reverted to the owners.
In 1996, Columbia University changed the virtually airtight, materially closed structure designed for closed system research, to a "flow-through" system, and halted closed system research. They manipulated carbon dioxide levels for global warming research, and injected desired amounts of carbon dioxide, venting as needed.[88] During Columbia's tenure, students from Columbia and other colleges and universities would often spend one semester at the site.[89]
Research during Columbia's tenure demonstrated the devastating impacts on coral reefs from elevated atmospheric CO2 and acidification that will result from continued global climate change.[90] Frank Press, former president of the National Academy of Sciences, described these interactions between atmosphere and ocean, taking advantage of the highly controllable ocean mesocosm of Biosphere 2, as the "first unequivocal experimental confirmation of the human impact on the planet".[91]
Studies in Biosphere 2's terrestrial biomes showed that a saturation point was reached with elevated CO2 beyond which they are unable to uptake more. The studies' authors noted that the striking differences between the Biosphere 2 rainforest and desert biomes in their whole system responses "illustrates the importance of large-scale experimental research in the study of complex global change issues".[92]
Site sold
[edit]
In January 2005, Decisions Investments Corporation, owner of Biosphere 2, announced that the project's 1,600-acre (650 ha) campus was for sale. They preferred a research use to be found for the complex but were not excluding buyers with different intentions, such as big universities, churches, resorts, and spas.[93] In June 2007, the site was sold for $50 million to CDO Ranching & Development, L.P. 1,500 houses and a resort hotel were planned, but the main structure was still to be available for research and educational use.[94]
Acquisition by University of Arizona
[edit]
On June 26, 2007, the University of Arizona announced it would take over research at the Biosphere 2. The announcement ended fears that the structure would be demolished. University officials said private gifts and grants enabled them to cover research and operating costs for three years with the possibility of extending funding for ten years.[95] It was extended for ten years, and engaged in research projects including research into the terrestrial water cycle and how it relates to ecology, atmospheric science, soil geochemistry, and climate change. One of these gifts in 2009 included 470 photovoltaic solar panels added to the site.[96] In June 2011, the university announced that it would assume full ownership of Biosphere 2, effective July 1.[97]
CDO Ranching & Development donated the land, Biosphere buildings and several other support and administrative buildings. In 2011, the Philecology Foundation (a nonprofit research foundation founded by Ed Bass) pledged US$20 million for the ongoing science and operations.[97] In 2017, Ed Bass donated another $30 million to the University of Arizona in support of Biosphere 2, endowing two academic positions and setting up the "Philecology Biospheric Research Endowment Fund".[98]
Science camps are also held on the premises. These have included a week-long 'space camp' for university undergraduates, and overnight camps for school students.[99][100] In 2011 it was reported that there were an average of 100,000 visitors per year visiting the Biosphere 2 campus.[101]
Later research
[edit]
There are many small-scale research projects at Biosphere 2, as well as several large-scale research projects including:
the Landscape Evolution Observatory (LEO), a project which uses 1,800 sensors to monitor millions of pounds of abiotic volcanic rock to track how this nonliving soil slowly develops over several years into a rich soil which is able to support microbial and vascular plant life. Structurally, this involved building three large steel-framed "hillsides" inside the pre-existing domes as the world’s largest weighing lysimeter, with design and implementation construction constrained by the limited accessibility into the existing structure.[102]
the Lunar Greenhouse, a second prototype of the Controlled Environment Agriculture Center which seeks to understand how to grow vegetables on the Moon or Mars by developing a bioregenerative life support system which recycles and purifies water through plant transpiration.[103][104]
a vertical farming project to be built in Biosphere 2's west lung, in collaboration with the private company Civic Farms,[105] in an effort to develop an indoor plant growth cycle with LED lamps configured to specific wavelengths aimed at increasing water efficiency, producing zero farm runoff, with no pests or pesticides, and zero effect from external weather conditions.[106]
In popular culture
[edit]
Bio-Dome, a 1996 comedy film based on Biosphere 2[107]
Spaceship Earth, a 2020 documentary film on Biosphere 2[108]
See also
[edit]
BIOS-3, a closed ecosystem at the Institute of Biophysics in Krasnoyarsk, Siberia, Russia
Eden Project
IBTS Greenhouse
Institute of Ecotechnics
Mars analog habitats
Flashline Mars Arctic Research Station (FMARS)
Mars Desert Research Station (MDRS)
MARS-500, ground-based experiment simulating a crewed flight to Mars
HI-SEAS
MELiSSA, a closed ecosystem run by the European Space Agency
Yuegong-1, a closed ecosystem experiment in Beijing, China
References
[edit]
Bibliography
[edit]
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wrong_mix_domain_subsidiary_00002
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FactBench
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1
| 36
|
https://www.forbes.com/sites/bobevans1/2018/06/12/shakeout-in-the-cloud-success-of-salesforce-oracle-sap-and-workday-triggering-saas-consolidation/
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en
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Shakeout In The Cloud: Success Of Salesforce, Oracle, SAP And Workday Triggering SaaS Consolidation
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[
""
] | null |
[
"Bob Evans"
] |
2018-06-12T00:00:00
|
With Salesforce.com, Oracle, SAP and Workday on a combined SaaS revenue run-rate of $25 billion this year, the Wild West days of the cloud apps business are drawing to a close as those four SaaS leaders plus a handful of others consolidate power with end-to-end suites of business-critical apps.
|
en
|
Forbes
|
https://www.forbes.com/sites/bobevans1/2018/06/12/shakeout-in-the-cloud-success-of-salesforce-oracle-sap-and-workday-triggering-saas-consolidation/
|
(Note: After an award-winning career in the media business covering the tech industry, Bob Evans was VP of Strategic Communications at SAP in 2011, and Chief Communications Officer at Oracle from 2012 to 2016. He now runs his own firm, Evans Strategic Communications LLC.)
CLOUD WARS -- As four of the world's top SaaS vendors hit a combined $25-billion run rate for their apps businesses, and as each extends its portfolio of enterprise applications to cover strategic and high-growth segments, the SaaS industry will no longer support many hundreds or even thousands of boutique apps firms and will consolidate rapidly around a dozen or so top players.
In their most-recent quarters, Salesforce.com, Oracle, SAP and Workday reported SaaS revenue of about $6.4 billion: Salesforce at $3 billion, Oracle about $1.5 billion, SAP about $1.3 billion, and Workday more than $600 million.
All of those SaaS businesses are growing between 25% and 30% per year, and each of those vendors is investing massively in product development, customer success, sales and marketing to ensure these strategic growth engines of the future don't falter.
So for small, niche-y SaaS vendors, where is the opportunity? Because for them, the outlook only gets worse: beyond the four big SaaS vendors mentioned above, several other top cloud vendors are also sucking most/all of the application oxygen out of the enterprise marketplace:
Microsoft's Dynamics 365 business has been growing at well over 60% for more than a year, and its PowerApps group is growing even faster;
ServiceNow, matching Workday, will come close to $2.5 billion in SaaS revenue in its current fiscal year;
IBM's SaaS business has been topping 20% growth in recent quarters;
Google included its apps revenue in its Google Cloud Platform total earlier this year; and
Adobe says most of its $8 billion in annual revenue comes from the cloud, but doesn't break out how much of that is enterprise versus consumer.
In a broader sense, this specific set of market dynamics taking hold in the SaaS segment is a reflection of what's starting to happen in the cloud industry overall.
In a recent Cloud Wars column called Top Cloud Vendors Will Crush $100 Billion In 2018 Revenue; Microsoft, Amazon, IBM Hit $75 Billion?, I wrote the following:
"Extrapolating from recent financial results, growth rates, market momentum and particularly the insatiable appetite among business customers for cloud services, I'm estimating that Microsoft, Amazon, IBM, Salesforce, SAP, Oracle and Google will combine for at least $100 billion in enterprise-cloud revenue in calendar 2018. The upshot is that not only is the cloud revolution in full swing, but it's accelerating.
"It's accelerating rapidly as businesses have realized the cloud accelerates innovation, enhances cybersecurity, and allows huge chunks of IT budgets to be redeployed from low-value work to high-value customer-facing initiatives.
And if we add into the mix 3 more enterprise-cloud powerhouses—ServiceNow, Workday and VMware—my projected revenue total for [the top 10 cloud providers in] 2018 will easily surpass $100 billion and is likely to reach $110 billion."
Meanwhile, all of those major SaaS players are living by the Law Of The Cloud—get as big as you can as fast as you can—and are extending their SaaS portfolios into new market segments that corporate customers find to be most strategic: ERP, CRM, HCM, analytics, and the various slices within each of those—particularly ERP—that conform to the new business models of the digital economy.
So what's a valiant startup or fiercely independent SaaS vendor to do?
First, accept and embrace the notion that the cloud-computing industry—despite all of its many virtues and wonderfulness—cannot support an endless cast of thousands of vendors and inventors and investors and interlopers.
Second, accept and embrace the reality that either late this year or early next year, The Law of the Cloud will prove to be subservient to the laws of physics and the laws of economics: despite aggressive intentions of those small SaaS companies, and despite how big this market is, in the end there's only a finite number of business customers, and the very great majority of them are turning to the big players that can handle most of their needs with the least amount of integration.
Third, look to get acquired—the top players are looking to assemble end-to-end suites across all or most of the processes businesses run today, and if you can plug a gap or offer a powerful new capability, you're in great shape.
Look at the handful of acquisitions recently made by SAP to assemble its new end-to-end CRM portfolio; look at Salesforce's recent acquisitions to extend its capabilities across not only B2B but B2C and beyond; look at Adobe's purchase of Magento; and many other examples.
And, if you choose to go it alone, all the best to you—the odds are long and are getting longer very quickly.
But then again, dreams have never been governed by logic, have they?
|
|||||
wrong_mix_domain_subsidiary_00002
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FactBench
|
0
| 6
|
https://www.cfo.com/news/deals-back-to-the-doldrums/673736/
|
en
|
Deals: Back to the Doldrums
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2007-10-15T00:00:00
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North American dealmaking slid precipitously back toward cautious second-half levels last week after several periods of surprising strength. The 29 transactions in the week ended Oct. 14 totaled $7.55 billion, down from the $20.67 billion that 61 offers had produced in the prior seven days.
What might have become the largest deal, reflecting Oracle Corp.’s $6.7 bid for BEA Systems, didn’t qualify for our list because there was no actual tender offer from the acquisitive, fast-growing business software provider. Wall Street, meanwhile, was expecting rival bidding activity for the attractive BEA in what has become one of the more active markets for M&A.
The leading transactions in our survey of the top 10 North American deals was AT&T Inc.’s $2.5-billion agreement to buy 12 megaherz of wireless spectrum capacity from Aloha Partners LP, followed by Kohlberg Kravis Roberts & Co.’s $1.28-billion deal to use a Turkish subsidiary to buy U.N. Ro-Ro Isletmeleri AS of Istanbul. Ro-Ro provides intermodal transportation services. Falling just short of the KKR deal’s size was Newmont Mining Corp.’s agreement to buy Miramar Mining Corp. for $1.24 billion. Both operated gold properties.
Year-to-date transaction totals of $1.4 trillion still run far ahead of the $1.1 trillion over the same 2006 period, on the strength of blockbuster dealmaking in this year’s first half. That was before the mid-year credit crunch created a day-and-night scenario, which only occasional flurries of billion-dollar-plus transactions have enlivened.
AT&T Inc. to buy 12 MegaHerz of spectrum from Aloha Partners LP for $2.5 billion
AT&T’s purchase of wireless spectrum from Providence-based Aloha is designed to enable San Antonio-based AT&T to meet the increasing demand for mobile services. The additional spectrum covers 196 million people in 281 markets. The transaction is expected to close in six to nine months.
Seller financial advisor: Internal
Bidder financial advisor: Internal
Seller legal advisor: Not Disclosed
Bidder legal advisor: Arnold & Porter
Kohlberg Kravis Roberts & Co. to buy a 97.6 percent stake in U.N. Ro-Ro Isletmeleri AS for $1.28 billion
The acquisition is through KKR’s Istanbul-based Trieste Bidco Denizcilik ve Tasimacilik A.S. acquisition vehicle. The Istanbul-based target provides intermodal transportation services. As part of the acquisition, Trieste Bidco also took majority stakes in each of Ro-Ro Isletmeleri’s affiliates: U.N Deniz Tasimaciligi A.S., U.N Deniz Isletmeciligi A.S., and U.N Gemicilik Sanayi ve Ticaret A.S. These companies, together with Ro-Ro Isletmeleri, constitute the U.N Ro-Ro Group. The transaction was for cash, and debt free for KKR, based in New York. Debt financing has been arranged by the Turkish banks Garanti Bankasi and Turkiye Is Bankasi. The transaction is part of KKR’s strategy to invest in Turkey and develop U.N. Ro-Ro’s business. U.N. Ro-Ro will continue to be based in Turkey and keep transporting truckers and exporters between Turkey and Europe. Completion is expected to take place before the end of 2007.
Seller financial advisor: Citigroup
Bidder financial advisor: Morgan Stanley
Seller legal advisor: Norton Rose; and Özel & Özel
Bidder legal advisor: White & Case; and Simpson Thacher & Bartlett
Newmont Mining Corp. to buy Miramar Mining Corp. for $1.24 billion
North Vancouver, B.C.-based Miramar signed a definitive agreement for Denver-based Newmont to pay $6.33 a share, a premium of 19.7 percent. Both boards have approved the merger between Miramar, which explores for and develops gold-bearing mineral properties, and Newmont, primarily a gold producer with significant assets or operations in the U.S., Australia, Peru, Indonesia, Ghana, Canada, Bolivia, New Zealand, and Mexico. Newmont sees prospects for establishing a new core-mining district in Canada’s Nunavut Territory, along with an opportunity to build a focus for Newmont’s exploration and project development teams on a long-term deposit with competitive operating costs. It considers the gold deposits being acquired to be among the top undeveloped deposits globally. It also sees an opportunity to reduce technical risk by drawing on Newmont’s historic investment in, and understanding of, the Hope Bay Project, and the opportunity for Newmont to control and explore a roughly 80-by-20 kilometer greenstone belt with substantial exploration potential.
Seller financial advisor: BMO Capital Markets
Bidder financial advisor: Citigroup; Genuity Capital Markets; and JPMorgan
Seller legal advisor: Dorsey & Whitney; and Gowling Lafleur Henderson
Bidder legal advisor: Goodmans; and Wachtell Lipton Rosen & Katz
Textron Inc. to buy United Industrial Corp. for $950 million
Hunt Valley, Md.-based United Industrial, a designer and producer of aerospace and defense systems, definitively agreed to merge with Providence-based Textron for $81 a share, a premium of 7.1 percent. Textron operates in helicopter, business jet, golf/turf, automotive, and finance markets worldwide. The transaction is expected to close by the end of the year.
Seller financial advisor: JPMorgan
Bidder financial advisor: Merrill Lynch; and Rothschild
Seller legal advisor: Proskauer Rose
Bidder legal advisor: Latham & Watkins (Advising Merrill Lynch); and Skadden Arps Slate Meagher & Flom
NBC Universal Inc. to buy Oxygen Media LLC from Europ@web for $925 million
New York-based NBC Universal, a unit of General Electric that develops and produces entertainment, news, and information, is purchasing Oxygen Media from Paris-based Europ@web, a venture capital fund and a subsidiary of French private equity firm Groupe Arnault SAS. Oxygen, also based in New York, is an Internet portal that provides news, media services, and lifestyle links. LVMH Moet Hennessy Louis Vuitton SA, the Paris-based luxury goods and alcoholic beverages group, acquired Oxygen through Europ@web in December 1999. NBC plans to fund the acquisition through the sale of noncore assets, including two independent Telemundo television stations, KWHY in Los Angeles and WKAQ in Puerto Rico. NBC has a strategy of enhancing market reach among young, female viewers, and the acquisition complements NBC’s existing cable channels. Oxygen will be integrated with NBC’s entertainment cable division. The acquisition, which is expected to be accretive for NBC’s full-year earnings up to $35 million for 2008, is expected to close by November.
Seller financial advisor: Allen & Company; and Bear Stearns & Co
Bidder financial advisor: JPMorgan
Seller legal advisor: Debevoise & Plimpton
Bidder legal advisor: Weil Gotshal & Manges
Blackstone Group Holdings LLC to buy Alliance Hospitality Management LLC from Whitehall Funds for $875 million
Blackstone, the New York private equity firm, won an auction to acquire Raleigh-based Alliance, a hotel management company. The seller is New York-based Whitehall Funds, a real estate investment fund managed by Goldman Sachs. Whitehall Funds are managed by Archon Group, a full-service investment management and support-services company that is a wholly owned Goldman subsidiary. Other bidders were French insurer AXA SA and French travel, tourism and hotel business operator Accor SA. Alliance Hospitality manages 46 hotels in Europe.
Seller financial advisor: CB Richard Ellis Services; and Goldman Sachs
Bidder financial advisor: Not Disclosed
Seller legal advisor: Not Disclosed
Bidder legal advisor: Kirkland & Ellis
Electronic Arts Inc. to buy VG Holding Corp. from Elevation Partners LP for $620 million
Menlo Park, Calif.-based Electronic Arts, the gaming software developer, agreed to acquire Menlo Park-based video-game developer VG from private-equity firm Elevation Partners LP, also of Menlo Park, for a price that excludes earnouts of $155 million. Terms call for EA to pay the $620 million in cash and make an additional payment of $155 million in stock to VG employees based on future performance. EA also agreed to lend VGH $35 million at closing, which is expected by January 2008. The acquisition includes the purchase of Canadian electronic entertainment company BioWare Corp. and U.S. gaming entertainment company Pandemic Studios, which together have about 800 employees. The acquisition aims to let EA strengthen its position in the interactive entertainment segment. The transaction has received the approval from VG’s board and from shareholders, and is expected to be completed by January 2008.
Seller financial advisor: Not Disclosed
Bidder financial advisor: Not Disclosed
Seller legal advisor: Simpson Thacher & Bartlett
Bidder legal advisor: Wilson Sonsini Goodrich & Rosati
Rusoro Mining Ltd. to buy the Venezuelan assets of Gold Fields Ltd. for $532 million
Vancouver-based Rusoro agreed to a complex deal that includes payment of $150 million in cash, $140 million in equity, and $30 million in convertible debt for the Venezuelan mining assets of Johannesburg-based Gold Fields, a gold exploration and development company. Rusoro also signed an overnight marketing agreement for a vendor take-back loan to raise $160 million for three years at an interest rate of 7 percent, convertible at a premium of 33 percent. The deal includes a stake in Choco 10 gold mines and contiguous mineral rights owned by Gold Fields. Gold Fields will have a stake of 38 percent in Rusoro after the transaction. Rusoro aims to have the ability to expand its market in gold production, while acquisition of the Choco 10 gold mines will help it to increase its production activity while reducing costs and study production ramp-up alternatives. The transaction is expected to close in early December.
Seller financial advisor: Orion Securities
Bidder financial advisor: Canaccord Adams; and GMP Securities
Seller legal advisor: McCarthy Tetrault
Bidder legal advisor: Anfield Sujir Kennedy & Durno
Hexagon AB to buy NovAtel Inc. for $428 million
Stockholm-based Hexagon, which provides engineering technology products and services, agreed pay Alberta, Canada-based NovAtel, a maker Global Positioning System receivers and related components, for $50 per share, a premium of 17.8 percent. Concurrent with offer, Hexagon will acquire 19.9 percent of the current issued and outstanding primary shares of NovAtel in a private placement. The acquisition expected to close in the fourth quarter.
Seller financial advisor: Not Disclosed
Bidder financial advisor: Morgan Stanley
Seller legal advisor: McCarthy Tetrault; and Orrick Herrington & Sutcliffe
Bidder legal advisor: Stikeman Elliott; and Paul Weiss Rifkind Wharton & Garrison
ABM Industries Inc. to buy OneSource Services Inc. for $379 million
San Francisco-based ABM, a services contractor, definitively agreed to acquire Atlanta-based outsourced-facilities service provider OneSource for cash. OneSource has the option as part of the consideration to be paid in the form of a pre-closing dividend of up to $50 million. If the companies choose to do so, before the closing of the transaction OneSource must form a new subsidiary with a capitalization of up to $50 million, with shares of the new entity to be distributed to Onesource holders. After the closing, expected in November, shares of the new entity will then be listed on AIM in London. The transaction has been approved by OneSource’s 74-percent shareholder, Lord Ashcroft KCMG, who also is chairman.
Seller financial advisor: Cenkos Securities
Bidder financial advisor: Lazard
Seller legal advisor: Allen & Overy
Bidder legal advisor: Jones Day
|
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wrong_mix_domain_subsidiary_00002
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FactBench
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https://www.outsideonline.com/culture/books-media/ken-layne-desert-oracle-review/
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en
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‘Desert Oracle’ Is a Spooky Look at the Southwest
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Ken Layne left an influential career in digital media to create 'Desert Oracle,' a cult-favorite radio show and print periodical based in Joshua Tree that explores everything from the political to the paranormal. Now it's being released as a book.
|
en
|
Outside Online
|
https://www.outsideonline.com/culture/books-media/ken-layne-desert-oracle-review/
|
In late August, smoke from the California wildfires made it difficult for Ken Layne to step outside his home in Joshua Tree, California. But that didn’t stop the writer and producer from doing what he does every week: recording Desert Oracle, a radio program that airs each Friday evening on California’s KCDZ 107.7 FM and also as a podcast. “I have no doubt the climate situation will be fixed by the same species that got us here: humans,” he told his listeners in a nasally voice backed by eerie synth music that one might expect to hear in a sci-fi film. “The question is this: does this happen when you’re alive or after you’re gone?” By the middle of the episode, Layne was on a different topic entirely, asking listeners if they’d like to conduct a psychic experiment with him.
Desert Oracle is hard to explain. For one thing, it’s not just a radio show—it’s also a (more or less) quarterly print periodical with the same name. Both mediums cover an odd mix of desert-related miscellany, from the political and paranormal to the historical and environmental. In any given episode or issue, Layne might dive into the dangers of consumer culture or the strange dreams he’s having because of the pandemic. But mostly he focuses on local lore: stories of missing hikers, ghost stags, and Yucca Man sightings (the regional equivalent of Bigfoot). The project’s tagline is “The Voice of the Desert.”
The desert is a strange and complicated place, and the depth and weirdness with which Layne explores it has earned the radio show and publication a cult following. The print periodical has more than 3,700 subscribers throughout the United States, and another 3,000 to 4,000 copies are distributed in shops in California, Arizona, Nevada, and Utah. The podcast carries a five-star rating, with more than 430 reviews on Apple Podcast. And this month, MCD Books, a division of Farrar, Straus & Giroux, is releasing a collection of the periodicals as Desert Oracle, Volume One: Strange True Tales from the American Southwest.
“We are a fractured and confused people in this strange century,” Layne writes in the collection. “Most of what once connected us to a place—knowledge of the land and the animals, origins of the regional beasts and abominations, shared rituals and traditions—has been lost or taken away. We are strangers in our own land. But it doesn’t have to be like that.”
For 30 years, Layne, now 54, maintained a successful career as a journalist and political blogger, co-founding several tabloid and alt-news publications, like Tabloid.net and LAExaminer.com (both now defunct). He garnered the most notoriety in the early 2000s while working with Gawker Media and later as co-owner of political satire site Wonkette.
In 2014, Layne decided to leave digital media behind. “My sense was that nobody who is consuming digital content really cared if the writing was good,” he says. Less than a minute after one of his articles would be posted on Gawker, there would be 100 comments. Nobody was actually reading the stories.
At 48, he wanted to do something more meaningful. It took Layne about a year to figure out what that should be. He decided on two things: First, he wanted to create an old-fashioned print periodical, believing that people who put the time and effort into purchasing something would make a better readership. Second, the project was going to combine all the things that mattered to him: desert history, conservation efforts, and the paranormal.
Layne moved to Joshua Tree in 2003 and has been enamored with the desert since he was a kid. But until this point, it hadn’t played much of a role in his career. “You get to a certain age, and you realize you don’t have a lot of time left to put off starting over again, if you’re going to do it,” he explains.
So he made the jump and started building his new publication. Layne settled on the name Desert Oracle, a nod to the sometimes ominous-sounding names of 19th-century newspapers and to the town in Arizona where one of Layne’s idols, writer and explorer Edward Abbey, kept a post office box.
Initially, Layne didn’t put much thought into the traditional meaning of the word “oracle’’: a priest or priestess through whom a deity speaks. But as the project grew, he realized he had become a voice in the wilderness, warning listeners about the dangers of humanity’s lack of purpose and our tendency to ignore signs that we’re killing our planet.
Even the ghost stories that fill Desert Oracle’s pages and soundbites serve a greater purpose: saving the desert. “The mission of Desert Oracle is desert and wilderness conservation,” Layne told me in an email. He often sneaks the conservation messages into his show and his publications. The first issue, published in 2015, included a list of small desert land trusts that readers could support. “I’ve been doing stuff with the Mojave Desert Land Trust since then, too, and I like to believe I’ve injected some lifelong conservation and ecology ideas into people’s heads,” Layne continued in the email.
And the desert needs saving. Massive population growth in the Southwest has put increased stress on limited water supplies and other natural resources. That overuse, combined with climate change, is leading to longer periods of drought, higher temperatures, and an increased risk of forest fires. This year, tens of thousands of desert acres have burned in unprecedented wildfires, and the Joshua tree became the first plant to earn government protection because of climate change.
Layne is not alone in combining environmental activism with the spiritual or paranormal. The U.S. environmental movement has early roots in the spiritual, starting with the transcendentalists. Layne points to John Muir as an example: he was a mystic, transcendentalist, and early environmental activist. “He really explicitly connected spiritual pursuit, and particularly an American Western open-air approach to spirituality and ecstatic experience, with the preservation of wild places,” Layne says.
Layne has seen and heard a lot of strange things in the desert: dresser drawers opening on their own in an old building in Death Valley Junction; a vanishing car on a country road; strange lights in the sky over the exact area where hikers would later discover two dead bodies. For Layne, the paranormal and the spiritual are two sides of the same coin, and as he explains on his radio show, “Anybody who spends much time in the High Desert eventually has some sort of experience with the anomalous.”
The desert has a history of attracting those seeking purpose or answers. As Layne pointed out in our interview, there’s a reason the prophets of most major religions sought out the desert landscape. There’s just something about its spaciousness, its quiet, its dangerousness, and its staggering beauty that appeals to seekers of all kinds.
Not all of those seekers have good intentions, however. Desert Oracle also tells the stories of cults that have formed in the Mojave, such as the one that inspired Charles Manson. He includes the stories as “an acknowledgment that the things that push and pull people tend to be somewhat universal, and seekers are maybe a little easier to get involved in something that they’ll later regret.”
After this historic year, perhaps more people than ever are seeking purpose, or simply an escape, and the desert has a little something for everyone. If you want to have an experience with a UFO, a ghost, or God, the Mojave is a good place to go, and Desert Oracle can be your guide. The periodical is an invitation to explore the desert, and Layne made it intentionally pocket-sized so you can carry it with you. “The publications that you can put in your jeans pocket or whatever you’re wearing when you’re walking are the ones that usually get read, even if it’s not the best, right?” he says. “I wanted it to be small and kind of intimate.”
Layne’s not-so-secret hope is that those who learn about the desert and choose to explore it will also fall in love. As Layne says in his introduction to the new collection, “If this landscape affects your soul in this manner, you may have no choice but to join the noble and holy effort…because when you love a place that is what you do.”
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http://archive.bio.ed.ac.uk/jdeacon/biosphere/biosph.htm
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en
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BIOSPHERE
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Biosphere 2
Figure 1. Overview of the Biosphere 2 complex, showing the location of one of the two
dome-like "lungs" (top, right). Picture from theBiosphere 2 website (Columbia University).
On this site you will find:
Overview of the Biosphere 2 complex - its main features and a short history
Critique of the Biosphere 2 concept: discussion points
Relevant technical details, including coral reef mesocosm and research on rising CO2 levels
You can also go to:
Photographs of Biosphere 2
The Biosphere 2 website
Climate change and greenhouse gases
Biosphere 2 - overview and short history
Biosphere 2 is a major sealed glasshouse complex near the small town of Oracle, north of Tucson in the desert of Arizona. It was completed in 1991, funded by a Texan oil billionaire, Edward P. Bass, whose vision was that it could be a step towards the colonisation of Mars by humans. With this in mind, the complex had to be large enough to support humans and to be self-sustaining, with recycling of all its components. It was designed to accommodate small teams of people who would live in it for periods of up to 2 years, obtaining all their food by growing crops or by eating domesticated animals, replenishing the oxygen by plant photosynthesis, and recycling of all their consumables. Even the toilets had no toilet tissue; instead they had an inbuilt spray for...well, you know what!
In short, the sealed complex was designed as a model, sustainable, controlled environment system - a visionary experiment on a grand scale. It contains several different compartments, supporting different types of vegetation (biomes). It is called Biosphere 2 because it aims to mimic Biosphere 1 - planet Earth.
Figure 2. A small part of the Biosphere 2 complex - the large glass structures are part of the agroforestry zone (see Figure 3)
The building itself is a major technological and architectural achievement, with many innovative features. Its total internal area covers 1.28 hectares (3.15 acres) and the different compartments house different biomes (mesocosms) - rainforest, agroforestry, savanna, desert, marsh, ocean with coral reef, and a human habitat zone with all creature comforts such as a kitchen, library, dormitories, etc. Supporting all this is an astounding array of technology, including fully automated, computer-controlled internal weather systems and recycling systems. Heating, cooling, and electricity are supplied from an energy centre external to the structure, with solar panels to supply much of the energy. Water is conserved inside the Biosphere 2 wilderness mesocosm (desert, marsh, savanna, and rainforest) and is recycled by condensation (cooling coils), artificial rain or irrigation (sprinkler systems), evapotranspiration, and sub-soil drainage.
In order to compensate for changes in air volume caused by solar heating (alternating day and night temperatures) two large dome-shaped "lungs" were constructed. These are like gasometers - the roofs rise and fall to accommodate the changes of internal air volume. The individual compartments of the glasshouse complex can be operated in different ways, including `flow-through' and `closed system' modes. The whole structure contains (for the record) approximately 170,000 metres3 of atmosphere, 1,500,000 liters of freshwater, 3,800,000 liters of saltwater, and 17,000 metres3 of soil.
Figure 3: Locations of Biosphere 2 mesocosms/ biomes (copied from the Biosphere 2 website).
For more photographs of the Biosphere 2 complex, click here.
Biosphere 2 is located at an elevation of 1,200 metres above sea level at a latitude of 32.5o North. The surrounding area is temperate desert, so the outside temperature is usually hot and the sunlight is intense. See Figure 4.
Figure 4. The view from Biosphere 2. Notice the cacti (including prickly pear) in the foreground and the many
giant columnar cacti (saguaro) on the slope descending from left to right in the middle distance.
Stocking the biomes within Biosphere 2
Much thought - though perhaps not enough thought - went into the creation of the biomes. The soils in the complex were specially prepared from commercially supplied components and mixed to give the desired properties. Plants were imported from various locations to represent different types of vegetation (desert communities, tropical rainforest, etc.), and a selection of insects, reptiles and fish were introduced. However, no mammals or other natural grazers were introduced, for fear that they would get out of hand. Instead, the vegetation had to be controlled (pruning, cutting, etc.) by the Biosphere inhabitants - the "biospherians". But separate areas were constructed for housing chickens and pigs, which could be managed to provide food for the inhabitants.
What happened when people moved in?
An initial series of short "test module" experiments started in 1988, when researchers spent from 3 to 21 days in the Biosphere 2 complex, to test the feasibility of the project. Then in September 1991 a crew of 8 people entered the sealed complex for a 2-year period. This was the first of many trials that were expected to continue over a period of 100 years before the programme ended.
After that initial crew, a second crew of 7 people entered Biosphere 2 in March 1994. But by this stage the strategy had changed because of the problems that had been found during the first 2 years. It was decided that individual crew members would spend shorter periods inside the structure - about 180 days on a rotating basis, and scientists or other visitors would enter the complex for short periods, to conduct experiments or to sample the populations or organisms.
The initial plan for Biosphere 2 was that the crews would support themselves entirely from the food that they could grow or gather, and that the "sealed" Biosphere complex would be entirely self-supporting.
However, serious problems soon started to develop. It is difficult to give an accurate account of all the problems because the official press releases give only some of the relevant information - remarkably for such a major technological and scientific venture, there seems to have been no detailed record or log kept of the day-to-day problems. But the major problems can be summarised under four main headings: technical problems, human and social problems, management problems, biological problems.
1. Technical problems
Soon after the first crew entered Biosphere 2, the oxygen levels in the complex started to fall and eventually reached damagingly low levels - below 14.5% compared with the normal 21% [14.5% is the oxygen level found at an altitude of about 4100 metres (13,400 ft)] This low oxygen level caused fatigue (equivalent to altitude sickness) and threatened the inhabitants' wellbeing. It is said that the inhabitants lacked the energy to climb the 100 or so stairs to the library (see Figure -), so this facility soon became non-functional. In addition, the nitrous oxide and CO2 concentrations rose to high levels. In order to help manage these problems, it was decided that the giant "lungs" (which compensated for changes in air volume) would be opened to the exterior when they were fully dilated each day, so that some fresh air could be introduced into the "closed" environment. Later, it even became necessary to pump oxygen into the system. Much of the reason for this oxygen deficit seems to be that oxygen was absorbed by some of the concrete structures in Biosphere 2 - the "curing" process of new concrete - and this was subsequently overcome by sealing the concrete. However, it is likely that a contributory cause of oxygen depletion (and CO2 increase) was the high organic matter content of the original soils (see later).
Added to these problems, there was some air leakage, estimated at about 10% per annum, between the inside and the external atmosphere. It has been pointed out that this amount of leakage is almost inevitable - in fact, it is similar to the leakage from spacecraft - but it caused some critics (including a sceptical press) to claim that the whole basis of the project - a sealed environment - was invalidated by air leakage and by the need to open the lungs to the outside world.
A further technical problem was that the glass and other structural components act as filters for incoming solar radiation. Virtually all UV radiation is absorbed by the glass, and photosynthetically active radiation (PAR) is cut by about 55%. However, because of the sunny location of Biosphere 2, the mean daily PAR levels measured inside the agro-forestry zone (about 15 mol m-2 day-1 in winter and 25 mol m-2 day-1 in summer) are higher than typical greenhouse intensities.
Yet a further problem could not have been foreseen - there was that an unusually heavy El Nino current which caused this part of Arizona to have an exceptionally cloudy winter (1991-1992). This cloud cover seriously reduced the amount of photosynthesis in Biosphere 2. As a consequence, the amount of CO2 within the structure rose to substantially higher levels than normal. It had to be corrected by chemical trapping of the CO2. A contributory factor could have been the choice of soil used in some of the biomes - an artificial mixture with up to 35% organic matter. Soil microorganisms can be expected to thrive on this, degrading the organic matter and releasing large amounts of CO2.
2. Human and social problems
The biosphere inhabitants soon found that they could not generate enough food to sustain themselves. They had brought in various seeds (peanuts, maize, vegetables, etc. - even coffee) which would be sown to produce crops (and which would generate more seeds for subsequent seasons). These annual crops were grown in rotation in 18 separate plots in the agroforestry zone. They included rice, wheat, maize, sorghum, sweet potato, potatoes, beans, soybeans, rape, mustard, safflower, tomatoes, cabbage, carrots, eggplant (aubergine), peppers and leafy vegetables.
But the biospherians were not experienced agronomists, and they had many problems with insect pests and plant diseases because they had to rely on natural (biological) control practices rather than chemical pest control measures, and the biological control methods did not always work well. As their food crisis deepened, the biospherians decided to eat some of the stores of seeds they had brought in, which were intended to be used to produce more food. At quite an early stage they found that bananas were one of the easiest and most nutritious food sources that they could use (in the rainforest zone) so they allowed the bananas to proliferate naturally (from rhizomes), and bananas now dominate that zone.
The initial intention was that chickens would be used as a continuing source of eggs, but the biospherians could not afford to use the limited amounts of food to feed the chickens, so these were slaughtered and eaten. The pigs also were in competition with the food demands of the humans. So, the pigs were slaughtered and eaten.
The biospherians were perpetually hungry and lost an average 16% of their body weight in the first 6 months (then stabilised thereafter). Despite this, they remained physically healthy. In fact, one of the more lasting scientific contributions from Biosphere 2 has been the recognition that a restricted (energy-limited) diet can increase health and longevity, as long as it is a "nutrient-dense" diet, with all the essential ingredients. (See related article)
There were inevitable interpersonal difficulties, doubtless exacerbated by living so intimately as a group in the highly stressful conditions. According to a report on a talk given later by one of the initial participants, Jayne Poynter, "the crew split into two factions about 6 months into the mission and from that point on, the two groups worked together, but could not get along. Their differences curtailed creativity and caused communication problems."
3. Management problems
Perhaps one of the most serious problems with Biosphere 2 was that it lacked a high level of scientific credibility (see "The Scientist" Vol 7, February 1993). Towards the end of the first 2-year crew's mission, Edward Bass asked the Smithsonian Institute to produce an analytical report. Among the criticisms mentioned in this report were:
the "lack of a well-developed, written scientific plan"
an "ad hoc mix of scientific initiatives of varying quality"
an "overconcern with proprietary information which has impeded the flow of scientific information and interaction", and
"possible embellishments of data".
This report recommended that a Scientific Director be appointed to oversee the development of the Biosphere 2 programme, and that the Biosphere 2 managers begin publishing and discussing their work more openly.
In fact, there was only one trained scientist among the original 8-member crew - Professor Walford, who was a trained physician and served as the crew's doctor. It is astonishing to think that such a major project should be undertaken by a crew of people who, despite their undoubted enthusiasm, were not trained scientists and who, apparently, did not keep proper scientific records.
4. Biological problems
The main biological problems in Biosphere 2 are perhaps predictable: a few common species tend to proliferate to the point where they achieve pest status, and other organisms are then disadvantaged. In Biosphere 2 the most successful insects are ants (especially the "crazy ant" - so called because of its distinctive pattern of movement), cockroaches and katydids (closely related to crickets). All of these insects thrive in warm environments with constant conditions, such as centrally heated houses where food is available. It is no surprise that they became abundant within Biosphere 2.
In contrast, the several beneficial insects that were introduced as pollinators of plants soon died out.
The end of a dream
Bold projects always have their critics, and attract intense media attention. Sadly, the catalogue of faults in the Biosphere 2 project provided plenty of ammunition, revealing fundamental flaws in the initial programme design. The last straw came when the first team of biospherians - hungry, irritable and disillusioned - admitted defeat and ended their stay. They emerged in the glare of TV cameras. The dream had become a disaster. The second crew of 7 people entered the complex, but by this stage the programme's scientific credibility was largely destroyed..
A new beginning
In 1995 the management of Biosphere 2 was transferred to Columbia University (New York City), with the option for Columbia University to buy it for a mere $1 million anytime in the next 20 years. It was also placed under firm scientific control, with an eminent Scientific Director to guide its future. The vice-Provost of Columbia University, Michael Crow, said 'We view it as the world's first teaching and research tool about global management. It's a big laboratory'
Today, Biosphere 2 continues as a visitor attraction, but now also has a major educational role in informing the public about environmental issues. The focus of research is now on climate change and the potential consequences of the predicted increases in global CO2 levels. Central to this research objective, the agroforestry zone now houses some 200 cottonwood trees (of the willow family), which can be exposed to different CO2 levels (Figure 5).
Figure 5. Cottonwood trees (Populus sp.) monitored for growth responses to different carbon dioxide levels in the agroforestry zone.
For a journalist's account of the history of Biosphere 2, see:
http://abcnews.go.com/sections/science/DyeHard/dye59.html
________________________________________________
Analysis of Biosphere 2: notes and discussion points for students of Environmental & Community Biology 1h
We have gone briefly through the story of Biosphere 2. Now we can ask "What lessons can we learn from it?"
Some of the issues are outlined below, but you might well be able to think of others.
1. The concept of Biosphere 2: is it useful?
Setting aside the grand vision of establishing colonies on Mars, Biosphere 2 is perhaps a valuable tool for focusing attention on the relationships between humans, the resources they need, and the maintenance of a diverse and complex ecosystem. As a visitor attraction, it can have a major educational role in raising environmental awareness. And as a research tool (public access is restricted to the human habitation zone) it can be used to address important issues.
What do you think?
2. The human dimension: why did things go wrong?
I suggest that things went wrong because of a lack of proper planning. Forget about Biosphere 2 for a minute, and think instead about the international (though mainly American) space programme. How are astronauts selected, and what are their roles? It is no coincidence that astronauts are middle-aged people, with families and a nice home to go back to. They also are extremely fit, highly trained to do the technical jobs, and (ugh!) have impeccable psychological profiles. The last thing you want on a spacecraft is a "loose cannon" - someone who is unpredictable. What's more, each crew member has specific roles to play, but all the decisions are taken in Mission Control, not by debate among the astronauts themselves. There is an immense team of experts monitoring and directing every aspect of the mission, and the astronauts are, by and large, functionaries rather than decision-makers.
Contrast this with Biosphere 2. The biospherians were self-selected enthusiasts, committed to environmental ideals . There's nothing wrong with that. But the problems were many:
these people were not selected and highly trained for specific roles;
they were allowed to make their own decisions by consensus (which is OK when things are going well, but not so good when the stresses become overbearing);
there was no external scientific oversight - no-one to advise or turn to when things did not work.
The biospherians did not even keep proper records, so that at the end of one of the biggest environmental experiments of all time there was nothing to show for the time and money!
If you had the chance to plan the "biospherian" adventure again, how would you organise it?
3. Ecological naivety: how could they make so many errors?
Perhaps the saddest part of the whole Biosphere 2 programme was the ecological naivety shown at the outset.
Have you ever tried to maintain a garden, or have you seen a garden that was left to become overgrown? Without continual input (pruning and weeding, etc.) the strongest and most vigorous plants take over, the "exotics" are the first to disappear, and eventually only the native or near-native species survive. In contrast to this, in natural environments the plants, insects, animals, microbes and other biotic components interact in numerous ways to achieve some stability - with mutual antagonism, interdependence, competition, food webs and so on.
Most of the wilderness areas of Biosphere 2 are like gardens, with plants imported from various parts of the world, selected on the basis that they grow in particular types of conditions (e.g. hot and dry, or warm and moist) and the plant mixtures bear no resemblance to natural communities. This must severely limit the value of these areas for ecological studies in Biosphere 2.
The same naivety applied to the selection of soils. You can find a section on this in the Biosphere 2 website. But it all boils down to the following.
The soil for some of the main compartments of Biosphere 2 was a mix of (1) a silt loam from a cattle-grazing area with added organic matter, (2) coarse peat and (3) a commercial mulch from a fertiliser company. The mix would initially have had 35% organic matter.
It is not difficult to predict what would happen in a soil of this type - the soil fungi and bacteria would have a feast! The organic matter would be degraded rapidly, with release of CO2, and a marked increase in the CO2 content of the atmosphere. The atmospheric oxygen levels would simultaneously be reduced.
And, finally, why do you think that some of the crops yielded so poorly (particularly the oil-rich and protein-rich crops like peanuts and soybeans)? Yes, the answer is easy - these are leguminous crops which depend on nitrogen-fixing Rhizobium (or Bradyrhizobium in the case of soybeans) for high yeilds. These rhizobia tend to be specific for particular types of plant, and I think we can safely assume that the biospherians did not know this.
Now the big question for you to try and answer: How would you populate Biosphere 2 for ecological studies if you wanted to use Biosphere 2 as a model of Biosphere 1 (Earth)?
Footnote for Environmental & Community Biology 1h
In the ECB course you will study the Winogradsky column, a microbial model system that illustrates the interdependence of organisms.
When visitors go into the large reception centre of Biosphere 2, they find a series of display cabinets containing sealed laboratory flasks. Some of those flasks are over 100 years old, and some have bands of microbial growth like those in a Winogradsky column. They were set up by microbiologists to study how microbial communities develop in different conditions over time. Visitors are told that these flasks are biospheres in microcosm - as indeed they are. Each flask was very carefully labelled by the original scientists, recording precise details of the different incubation conditions under which these microbial communities developed.
It would be nice to end there. But now, of course, all these flasks are kept in exactly the same conditions inside the display cabinets. Perhaps that says a lot about Biosphere 2: microbial ecology (at least) was never its strong suit.
|
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FactBench
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https://www.britannica.com/topic/Biosphere-2
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en
|
Biosphere 2 | Climate Change Research & Experiments
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Biosphere 2, scientific research facility located in Oracle, Arizona, U.S., designed to emulate Earth’s environment (Biosphere 1) that was perhaps best known for two missions conducted in the early 1990s in which crews were sealed inside the enclosure to study survivability. The driving force for
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en
|
/favicon.png
|
Encyclopedia Britannica
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https://www.britannica.com/topic/Biosphere-2
|
Design
The terrarium design for Biosphere 2 was conceived in the 1980s by American engineer John P. Allen, who was the director of Space Biospheres Ventures, a joint venture that in 1984 purchased the property where the facility is located. Its construction was completed in 1989, revealing a structure consisting of three main sections: an aboveground airtight glass-enclosed area, a belowground technology area (the Technosphere), and an area designated as human habitat. The main aboveground structure is made of nearly 204,000 cubic metres (7.2 million cubic feet) of sealed glass supported by steel frames and is 27.7 metres (91 feet) at its highest point. The main portion of the glass structure, which is rectangular and has ends resembling pyramids, contains five ecosystems: coastal fog desert and tropical rainforest, which occupy the pyramidal ends, and savanna grassland, mangrove wetland, and ocean (complete with coral reef), which are found in the middle region. The rainforest and desert ecosystems are separated from the other ecosystems by lightweight plastic curtains. Connected to the main biome area by a walkway are three rounded glass enclosures housing the agricultural area. The belowground Technosphere supports the 1.27-hectare (3.14-acre) facility and contains the technology that runs and maintains the biosphere environment. Among the Technosphere components are more than two dozen air-handler units that control air temperature and humidity in the biosphere, allowing for cooling, heating, condensation, and dehumidification. Air is circulated to the air handlers from the Energy Center, a building external to the glass-enclosed area. The Energy Center also provides hot and cold water for temperature regulation and houses generators that serve as an additional power source for Biosphere 2.
On the south and west sides of Biosphere 2 sit two large aboveground geodesic domes that contain the biosphere’s “lungs”—huge variable-expansion chambers that regulate air pressure inside the glass enclosure. Each lung is connected to the biosphere by a tunnel and consists of a heavy metal plate attached to a rubber membrane. As external temperatures rise and fall, air remains trapped in the biosphere or is released from it. The release of air dissipates pressure that may exceed the strength of the glass. Below the south lung lies a 757,000-litre (200,000-gallon) tank for the collection of water from condensation within the biosphere; this water is stored for uses such as fire suppression.
Biosphere 2 also contains a biologically based waste-treatment system that employs both aerobic and anaerobic microorganisms and other biological recycling systems, including algal scrubbers in the ocean and a soil-bed reactor. While the algal scrubbers remove nitrates, phosphates, carbon dioxide, and other unwanted chemicals from the water, the soil-bed reactor pumps air through soil in the agricultural domes, making trace gases produced from technological and biological sources available to soil microorganisms for metabolic breakdown and thereby preventing their accumulation to potentially harmful levels.
Additional research facilities, as well as classrooms and student housing, were later added to Biosphere 2.
Missions
Survivability missions in Biosphere 2 began on September 26, 1991, when four men and four women, referred to popularly as “Biospherians” (individuals trained to perform specific tasks during the mission), were sealed inside the glass biome. Agricultural tasks occupied much of the Biospherians’ daily routine, since they were expected to produce their own food, which included vegetables and grains from plants grown in soil beds; meat, eggs, and milk from farm animals; and fish raised in aquaculture beds. The crew kept detailed records on agricultural production, on changes observed in the wilderness area (the area housing the various ecosystems), and on atmospheric conditions. Within several months of entering the indoor atmosphere, the Biospherians detected a decrease in oxygen levels and an increase in carbon dioxide. At the start of the mission the indoor atmosphere consisted of about 20.9 percent oxygen; 17 months later, oxygen levels had dropped to just 14.2 percent. Unable to identify the cause, officials decided to inject oxygen into the facility on at least two occasions, and the lungs were opened daily to allow inflow of air from the external environment. While this move was criticized because of the impossibility of such a rescue for a self-sustaining colony in space, the Biospherians experienced marked lethargy and difficulty breathing before the oxygen was injected, raising concerns about their health and ability to finish the mission.
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The crew of the first mission also failed to achieve maximal food production. One explanation is that the 1991–92 El Niño year produced more cloud cover than usual in southern Arizona, which may have limited the photosynthetic activity of the plants inside and thereby contributed to reduced food production. Lack of photosynthesis likely also contributed to the reduced oxygen levels inside the biosphere. Another possible cause for low oxygen levels was later attributed to soil microorganisms that absorbed oxygen and released carbon dioxide. The performance of the first group of Biospherians was further hindered about six months into the mission, when the group split into two factions. Nevertheless, the Biospherians held out for two years in the glass environment, emerging on September 26, 1993. On March 6, 1994, having made various upgrades and improvements in system engineering and having introduced additional species into the ecosystem and agricultural areas, the second mission, with a crew of seven, began. In September that same year, however, the experiment was ended prematurely following disputes over management and finances.
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https://en.wikipedia.org/wiki/Tony_Hsieh
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Tony Hsieh
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2007-03-21T09:27:35+00:00
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en
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https://en.wikipedia.org/wiki/Tony_Hsieh
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American businessman (1973–2020)
This article is about the Internet entrepreneur. For the Taiwanese professional golfer, see Hsieh Min-Nan.
Anthony Hsieh ( SHAY;[1] December 12, 1973 – November 27, 2020)[3][4] was an American internet entrepreneur and venture capitalist. He retired as the CEO of the online shoe and clothing company Zappos in August 2020 after 21 years.[5][6] Prior to joining Zappos, Hsieh co-founded the Internet advertising network LinkExchange, which he sold to Microsoft in 1998 for $265 million.[7]
Hsieh was born in Urbana, Illinois, to Richard and Judy Hsieh, immigrants from Taiwan who met in graduate school at the University of Illinois. Hsieh's family moved to Lucas Valley area of Marin County, California when he was five. His mother was a social worker, and his father a chemical engineer at Chevron Corp.[8][1] He had two younger brothers, Andy and Dave. Hsieh attended the Branson School.[9]
In 1995, Hsieh graduated from Harvard University with a degree in computer science.[10] While at Harvard, he managed the Quincy House Grille selling pizza to the students in his dorm; his best customer, Alfred Lin, would later become Zappos's chief financial officer and chief operating officer.[11] After college, Hsieh worked for Oracle Corporation.[12] After five months, he left to co-found the LinkExchange advertising network.[13]
In 1996, Hsieh started developing the idea for an advertising network called LinkExchange with his college classmates Sanjay Mandan and Ali Partovi.[14] LinkExchange allowed members to advertise on other members' sites in exchange for placing LinkExchange banner advertisements on their own sites. They launched in March 1996, with Hsieh as CEO, and found their first 30 clients by direct emailing webmasters.[15] The site grew, and within 90 days LinkExchange had over 20,000 participating web pages and had its banner ads displayed over 10 million times.[16] By 1998, the site had over 400,000 members and 5 million ads rotated daily.[17] In November 1998, LinkExchange was sold to Microsoft for $265 million; Hsieh personally netted $40 million from the sale.[18][19][20]
After LinkExchange sold to Microsoft, Hsieh co-founded and owned Venture Frogs, an incubator and investment firm, with his business partner, Alfred Lin.[21][22] The name originated from a dare. One of Hsieh's friends said she would invest everything if they chose "Venture Frogs" as the name, and the pair took her up on the bet, although they had not seen any money as of 2011.[23] They invested in a variety of tech and Internet startups, including Ask Jeeves, OpenTable and Zappos.[23]
In 1999, Nick Swinmurn approached Tony Hsieh and Alfred Lin with the idea of selling shoes online.[11] Hsieh was initially skeptical and almost deleted Swinmurn's initial voice mail. After Swinmurn mentioned that "footwear in the US is a $40 billion market, and 5% of that was already being sold by paper mail order catalogs," Hsieh and Lin decided to invest through Venture Frogs. Two months later, Hsieh joined Zappos as the CEO, starting with $1.6 million of total sales in 2000.[11] By 2009, revenues reached $1 billion.[24][25]
Without a precedent to guide him, Hsieh learned how to make customers feel comfortable shopping for shoes online. Zappos offered free shipping and free returns, sometimes of several pairs. Hsieh rethought Zappos structure, and in 2013 it became for a time a holacracy without job titles, reflecting his belief in employees and their ability to self-organize.[26] The company hired only about 1% of all applicants.[27] Named for the Spanish word for shoes, "zapatos", Zappos was often listed in Fortune as one of the best companies to work for, and beyond high salaries and being an inviting place to work it delivered extraordinary customer service.[28]
Hsieh loved the game of poker and moved Zappos headquarters to Henderson, Nevada, and eventually to downtown Las Vegas.[28]
On July 22, 2009, Amazon announced the acquisition of Zappos.com in a deal valued at approximately $1.2 billion.[29] Hsieh is said to have made at least $214 million from the sale, not including money made through his former investment firm Venture Frogs.[30][31]
On August 24, 2020, Hsieh retired as the CEO of Zappos after 21 years at the helm.[5]
Hsieh joined JetSuite's board in 2011. He led a $7 million round of investment in the growing private "very light jet" field with that company. The investment allowed JetSuite to add two new Embraer Phenom 100 jets which have two pilots, two engines and safety features equivalent to large commercial passenger jets but weigh less than 10,000 pounds (4,500 kg) and are consequently highly fuel-efficient.[32]
From 2009 until his death, Hsieh, who was still running the downtown Las Vegas-based Zappos.com business, organized a major re-development and revitalization project for downtown Las Vegas, which had been for the most part left behind compared to the Las Vegas Strip's growth. Hsieh originally planned the Downtown Project as a place where Zappos.com employees could live and work, but the project grew beyond that to a vision where thousands of local tech and other entrepreneurs could live and work.[33][34] Projects funded include The Writer's Block, the first independent bookseller in Las Vegas.[35]
After stepping down as CEO of Zappos in August 2020, Hsieh bought multiple properties in Park City, Utah, with a total market value around $56 million.[36]
Hsieh was a member of the Harvard University team that won the 1993 ACM International Collegiate Programming Contest in Indianapolis, ranking first of 31 entrants.[37]
Hsieh received an Ernst & Young Entrepreneur of the Year award for the Northern California region in 2007.[38]
Hsieh's 2010 book Delivering Happiness focused on his entrepreneurial endeavors. It was profiled in many world publications, including The Washington Post, CNBC, TechCrunch, The Huffington Post and The Wall Street Journal.[39][40][41][42][43] It debuted at No. 1 on the New York Times Best Seller List and stayed on the list for 27 consecutive weeks.[44][45]
Hsieh resided primarily in Downtown Las Vegas, and also owned a residence in Southern Highlands, Nevada. Hsieh was known for taking extreme challenges regarding his body, including starving himself of oxygen to induce hypoxia, using nitrous oxide, and fasting to the point where he was under 100 pounds (45 kg).[46][47][48][49] Singer Jewel said that she was aware of Hsieh's extreme drug abuse and sent him a letter months before his death to warn him.[50]
On the morning of November 18, 2020, Hsieh was injured in a house fire in New London, Connecticut, although his identity was not revealed at the time.[51][6] It has been reported that he was visiting family for Thanksgiving, and he either became trapped in a pool shed during the fire,[52] or barricaded himself inside and would not answer the door.[53][54][55] The exact cause of the fire is under investigation. He was rescued by firefighters and transported to the Connecticut Burn Center at Bridgeport Hospital to undergo treatment for burns and smoke inhalation, where he died on November 27, at age 46.[56][57][58] The Connecticut medical examiner determined that Hsieh died from smoke inhalation, and ruled his death was an accident.[53] News sources have suggested that his drug use and nitrous oxide use may have played a role in his death.[59][60]
The Wall Street Journal reported that according to property records, Hsieh was staying at a house that was possibly owned by a former Zappos employee, Rachael Brown.[61][62]
Hsieh, Tony (2010). Delivering Happiness: A Path to Profits, Passion and Purpose. Grand Central Publishing. p. 253. ISBN 978-0-446-56304-8.[63]
Grind, Kirsten (2022). Happy at Any Cost: The Revolutionary Vision and Fatal Quest of Zappos CEO Tony Hsieh. Simon and Schuster. p. 320. ISBN 978-1-982186-98-2.[64]
Au-Yeung, Angel, and Jeans, David (2023). Wonder Boy: Tony Hsieh, Zappos, and the Myth of Happiness in Silicon Valley. ISBN 978-1250829092.
Grind, Kirsten; Hagerty, James R.; Sayre, Katherine (December 6, 2020). "The Death of Zappos's Tony Hsieh: A Spiral of Alcohol, Drugs and Extreme Behavior". Wall Street Journal .
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https://www.theartstory.org/movement/the-ancients/
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Ancients Movement Overview
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The paintings and engravings of The Ancients are amongst the most powerful works of Romantic and naturalistic art produced in Britain during the 19th century.
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The Art Story
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https://www.theartstory.org/movement/the-ancients/
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Summary of Ancients
Bejeweled with color, saturated with spiritual fervor, the paintings and engravings of The Ancients are amongst the most rapturous works of Romantic art produced in Britain during the 19th century. The Ancients were a group of young artists based in the south of England who cohered around the inspirational figure of William Blake. Also inspired by classical, Biblical, and Medieval and Renaissance imagery, the group was active for around a decade, meeting mostly at the house of their leading member Samuel Palmer in Shoreham, Kent before the ties of collective creativity gradually loosened. Their influence can be sensed across a wide sweep of Romantic art, from the Pre-Raphaelites to twentieth-century artists such as Graham Sutherland and John Piper.
Key Ideas & Accomplishments
The Ancients formed the first "brotherhood" in modern British art, an indirect influence on the many modernist and avant-garde groupings of the late nineteenth and early twentieth centuries. Dressing in long, monk-like robes and committing to a shared program of artistic and spiritual labor, their visible adherence to a shared cause was echoed in the pronouncements and artistic output of any number of later movements, although their ideals were rooted in a vision of antiquity rather than an avant-garde grasping at the new.
The Ancients were one of the most significant movements in British Romantic landscape painting. They rose to prominence at a time when that school was flourishing thanks to artists such as Turner and Constable. But whereas those painters' works precipitated a turn towards Naturalism and Realism in the depiction of the natural world, the spiritual intensity of The Ancients and the influence of Blake gave their work a proto-Expressionist quality of formal and tonal distortion which was entirely without equal.
Although somewhat neglected in their lifetime, during the twentieth century the work of The Ancients, and particularly Palmer, inspired a new generation of Romantic landscape artists. Painters such as Graham Sutherland, Paul Nash, John Piper, and John Minton, saw in The Ancients' work the same combination of Romantic richness and compositional daring that they were attempting to muster.
Overview of Ancients
Artworks and Artists of Ancients
Beginnings and Development
Blake the Interpreter
During the mid-1820s, a group of young male artists gathered around the figure of William Blake, by then in his sixties and living in relative poverty in London (he would die three years later, in 1827). These artists shared Blake's disdain for industrial and urban modernity, and his belief in the possibility of a new, spiritually infused art of landscape that could evoke an ancient, golden age of pastoral life. The most committed and prodigious of these artists were Samuel Palmer, Edward Calvert, and George Richmond, but they were part of a wider circle also including Francis Oliver Finch, Henry Walter, Frederick Tatham, Welby Sherman, and others. Supporters and fellow travelers included John Giles, a cousin and patron of Palmer's, Tatham's siblings Arthur and Julia - the latter of whom married George Richmond - and the older artist John Linnell, whose introduction of Palmer and Blake in 1824 precipitated the group's emergence. Linnell's daughter Hannah was also a talented artist and became the wife of Samuel Palmer.
Early Lives: Palmer, Richmond, and Calvert
The artists who congregated in Blake's apartment were mostly remarkably young, in some cases still teenagers. Samuel Palmer was born in 1805 in Newington, London, the son of a bookseller father and a mother from a cultured background, whose father had been an amateur author and composer. Palmer's childhood was filled with books, the stock of his father's trade, and wide reading was fundamental to his early intellectual development.
Though a sickly child requiring a nurse, Palmer took long walks in the countryside around London with his father. Palmer described the area between Greenwich Park and Dulwich, then still rural, as "The Gate into the World of Vision ." His mother, meanwhile, encouraged him to copy botanical and architectural drawings. After her death in 1818 he went to study with the drawing master William Wate.
Unlike the majority of the Ancients, Palmer received relatively little formal training, and never attended the Royal Academy. Critic Martin Postle notes his reluctance to undertake laborious copying work, and his belief, confirmed by his encounter with Blake, that it was unnecessary to conform to academic standards. However, Palmer developed creative friendships with several olderother artists that would prove crucial to his development.
Most significantly, at the age of seventeen, he met the painter John Linnell (1792-1882), with whom he would remain companions for the remainder of their lives, although Palmer's biographer Rachel Campbell-Johnston notes that their relationship became increasingly strained after Palmer's marriage to Linnell's daughter. Linnell's Romantic, pastoral scenes rivalled Constable's for price and reputation during the early 19th century and played a key role in guiding Palmer towards the Romantic pastoralism of his maturity. Palmer is quoted as saying: "by the time I had practised for about five years I entirely lost all feeling for art...But it pleased God to send Mr. Linnell as a good angel from Heaven to pluck me from the pit of modern art ." As well as introducing Palmer to Blake, Linnell opened him up to the world of German and Italian Renaissance painting and mural-work, notably the work of Albrecht Dürer, Francesco Traini, Buonamico Buffalmacco and Benozzo Gozzoli. The influence of Renaissance and Late Medieval art would prove crucial to The Ancients as a whole.
George Richmond's early artistic education followed a more traditional course than Palmer's. Born in 1809 in Brompton, then a village outside London, George was the son of a miniaturist and, unlike Palmer - whose professed childhood interest was more in church history than art - was determined from a young age to become a painter.
Richmond was just fifteen when he enrolled in the Royal Academy, where the Professor of Painting and Keeper was the gothic Romantic artist Henry Fuseli, an influence on Blake and Palmer as well as Richmond. A year later, at the age of sixteen, the young artist - like Palmer - became friendly with Linnell, who probably introduced Samuel and George to each other. It was also through Linnell, at his house in north London, that Richmond first met Blake. After that meeting, the teenager reportedly walked back across the fields to Blake's home at Fountain Court, during which time Blake made such an impression on the sixteen-year-old that he determined to follow in the older man's footsteps for life, later recalling that he felt "as though he had been walking with the prophet Isaiah ."
Edward Calvert, the final member of The Ancient's core trio, was the only one born outside London: in 1799, to a soldier in Appledore, Devon. Six years older than Palmer and ten years older than Richmond, Calvert had had the most varied life experience before becoming immersed in art, including a naval career which saw him take part in the Bombardment of Algiers, a British and Dutch mission to free Christian slaves from North Africa in 1816.
Having practiced drawing during his military career, Calvert settled in Plymouth upon his discharge, working under the artist A.B. Johns, who knew J.M Constable and took Calvert to visit him on at least one occasion. Having private wealth, Calvert was able to relocate to London in 1824, where he met Samuel Palmer through his cousin, the stockbroker and Ancients supporter John Giles. Calvert was soon a student at the Royal Academy and had met both Richmond and Blake.
Around this central group coalesced a wider network of young artists, some of them also very talented, though many less committed to the vision of Blake, including the painter Francis Oliver Finch, the sculptor Frederick Tatham, the caricaturist and animal painter Henry Walter, and the mysterious engraver Welby Sherman, of whom little is known, but who reportedly fled abroad in 1836 after swindling Palmer's brother William out of £500. The scene was set for the emergence of the first brotherhood in modern British art - and it was indeed an almost exclusively male group - preempting by several years the similar ethos of the Pre-Raphaelites.
Becoming the Ancients
A significant number of the artists connected to The Ancients were introduced to Blake in London in 1824, and the emergence of the group can be pragmatically dated to that year, although it may only have truly cohered after Samuel Palmer's move to Shoreham, in rural Kent, in 1826.
It is not totally clear how the group seized upon their evocative name. Morton D. Paley notes that the coinage is sometimes attributed to the stockbroker and Ancients fellow-traveler Giles, "who constantly used to assert the superiority of the ancients in all things." However, as Paley continues, it is also likely that William Blake was a primary or secondary inspiration. His work is peppered with references to 'the ancient': from the "feet in ancient times" of his preface to Milton (better known as the hymn "Jerusalem") to The Four Zoas, in which "Albion" [Blake's England] is described as "The Ancient Man," and most significantly, the Descriptive Catalogue of illustrations which he produced in 1809, in which the word "ancient" appears thirteen times. "These are amongst many instances," Paley states, "in which Blake uses 'ancient' to suggest a primal state of harmony and power, one that can be recovered through the agency of art ." In 1824, Blake was also producing the engravings to George Cumberland's Outlines from the Ancients, and the younger artists may have seen the plates at Blake's home in Fountain Court.
The term stood for the general principle of the young artists mission: to recuperate or recover a golden age of art located somewhere in the past, connected partly to ancient Greece and Rome, but also to a Biblical, Christian pastoral antiquity, one connected to a vision of the English countryside. The ideal was to be achieved through paintings, etchings and engravings - landscapes primarily, but also portraits and genre pieces - in which a timeless spirit would be manifested. The program was never formally summed up or committed to paper, but is encapsulated by a statement of Blake's from his Descriptive Catalogue: "Painting and Sculpture as it exists in the remains of Antiquity and in the work of more modern genius, is Inspiration, and cannot be surpassed."
The Move to Shoreham
Samuel Palmer's childhood illnesses had accompanied him into adulthood. In 1824 he was suffering with asthma and bronchitis, and reportedly left London on his mother's advice for a restorative holiday. Visiting the village of Shoreham in Kent, he found a warm, verdant setting where, as the reviewer Kathryn Hughes puts it, "the rents were sufficiently low and the locals correspondingly accommodating ." After inheriting £3000 as a result of his grandfather's death in 1825, Palmer decided to use the money to settle permanently in Shoreham in 1826.
The artist first bought a run-down cottage which was affectionately christened "Rat Abbey", in reference to the groups' spiritual aims as well as their rodent co-habitants: as well as, perhaps, the influence of the Nazarenes, a contemporary German artistic group with similar aims, of whom the Ancients were aware. The Nazarenes had settled in an abandoned monastery outside Rome 16 years previously. From 1826 onwards, Shoreham became an equivalent practical and spiritual base for Palmer and his compatriots. Other members of the collective would visit frequently, including Richmond and Calvert, while the engraver Welby Sherman settled nearby. Blake is known to have visited once.
According to the writer Carlos Peacock, life at Rat Abbey was characterized by a "regime of monastic austerity," with a spartan diet and little expendable income . Nonetheless, the art historian William Vaughan describes Shoreham as The Ancients' "'earthly paradise', a rural refuge from the city." He notes the impact that the landscape and culture of the area had on their work: For Palmer the period was one of great imaginative release, during which he developed the primitivizing tendencies that he had previously gained from studying the works of medieval artists and Blake into a unique manner of his own. Richmond painted religious and mythological works of startling primitivism, while Calvert, inspired by woodcuts and engravings of the early Renaissance, produced wood engravings of rustic rituals of arresting sensuality and vigor.
Extracts from Palmer's diary, written during the early days at Shoreham, reveal the extraordinary state of religious fervor in which he worked: At Shoreham, Kent, August 30, 1826. God worked in great love with my spirit last night, giving me a founded hope that I might finish my [painting] Naomi before Bethlehem...That night, when I hoped and sighed to complete the above subject well...I hoped only in God, and determined next morning to attempt working on it in God's strength...Now I go out to draw some hops [flowers of the hop plant] that their fruitful sentiment may be infused in my figures .
The second half of the 1820s was a period of extraordinary productivity, coupled with intense group activities and discussions, long nocturnal walks , and the adoption of monastic or messiah-like dress (as in George Richmond's portrait of Samuel Palmer in "Christ-like garb" [Vaughan] from 1829 ). The group were known by the locals and dourly tolerated, Vaughan notes, although they were sometimes sardonically referred to as "the 'extollagers', a rustic stab at the word 'astrologer '," on account of their eccentricity and otherworldly appearance.
Shortly after Palmer's move to Shoreham, his father sold his book business and joined his son in Kent, renting half of a large house on the banks of the River Darwent. Samuel's nurse and brother also came to live with the family in Shoreham. The Water House, as the older Palmer's lodgings were known, was initially used to house guests who could not be accommodated at Rat Abbey, but in 1828 Samuel left the run-down cottage to join his family in their more comfortable property, remaining there until he left Kent in 1835. It was during this time that he met the artist Hannah Linnell, daughter of his mentor John Linnell, whom he would marry in 1837.
Concepts and Styles
William Blake
Although William Blake had still not achieved commercial success when he encountered The Ancients in the mid-1820s, he was a prophetic, almost God-like figure to the younger group. According to Morton D. Paley, "he was compared by them to a biblical patriarch...; his two rooms in Fountain Court, Strand, were Bunyan's 'House of the Interpreter'" (a reference to a building in John Bunyan's Pilgrim's Progress in which God's word is revealed ). For Palmer, Blake was "a man without a mask; his aims simple, his path straightforwards, and his words few; so he was free, noble, and happy." Finch described Blake as "a new kind of man, wholly original, and in all things ."
At the root of this admiration for Blake was a respect for his attachment to the natural world, his sense of its visible and tangible saturation with divine force, his scorn for industrial civilization, and his fidelity to his own, unique vision. The Ancients felt this was particularly expressed in Blake's smaller, landscape works, such as his "Designs for Thornton's Virgil" (1821), illustrations to a set of pastoral works by the Roman poet Virgil produced for the schoolmaster Robert Thornton.
The wider influence of Blake is clear in the Ancients' curiously revolutionary approach to form and color during their time in Shoreham. Bodies, hills, and trees appear in exaggerated, rounded or muscular forms, in the style of Blake's rippling physiognomies. So too the rapturously bright color of much of their work, capturing and transforming the magical qualities of light and foliage, reflects the legacy of Blake's luminous prints.
The young acolytes were seemingly less engaged by what Samuel Calvert - paraphrasing his father Edward Calvert - described as "the ungovernable mysticisms of Blake's imagination - the Gothic phantasms of a SPIRITUAL cosmos ." This is presumably a reference to the complex pantheon of imaginary gods and demons with which Blake populated his artistic universe, which jarred with the somewhat less lurid, though still intense Anglican Christianity of his followers. It is also important to note that, while the human character and body played a central role in Blake's pictorial oeuvre, The Ancients were primarily focused on landscapes, in the emerging spirit of 19th century Romanticism - although Richmond certainly became an accomplished portraitist.
Brotherhood
The art historian and authority on The Ancients William Vaughan notes that their emergence "represents the earliest example in Britain of a practice of setting up breakaway groups that became common in avant-garde circles throughout Europe in the nineteenth century." The Ancients thus represent a precursor (often unacknowledged) to the Pre-Raphaelite Brotherhood, who are more commonly taken to comprise the first "avant-garde" in Britain. Indeed, the Pre-Raphaelite conception of 'brotherhood' owed much to the example of Palmer et al.
As the nineteenth century wore on, groups of idealistic young artists across Europe would increasingly break away from contemporary convention and institutional structures in order to grasp at some idea of "the new." But while The Ancients preempted this cultural shift, they were more interested in reembracing a sense of the past, in which art and spirituality were more closely bound up, and which was unsullied by the encroaching materialism of the Victorian age.
In this sense, The Ancients' concept of brotherhood was religious and - indirectly - political, as well as artistic. The spiritual overtones of their pursuit are reflected in their attempt at a collective living arrangement in Shoreham, somewhat in the style of a medieval abbey or monastery, and by their adoption of shared dress.
However, Vaughan also points out that forming a collective identity, by which "The Ancients" might be recognized as such, was also commercially minded. It was a way of attracting attention, giving their creative output a stamp of identity, and hopefully generating sales. In this respect their mission was a failure, as the group achieved very little commercial success during the decade it spent in Shoreham.
Medieval and Renaissance Art
As the art historian Raymond Lister wrote in 1984, "The Ancients were not uniquely inspired young men who conjured up from their unaided imagination alone an entirely new aesthetic. Their work was based securely on the traditions of Western art...That is one powerful reason when they themselves - especially Palmer and Calvert - continue to influence artists and writers ." This tradition included the art of the Late Medieval and Renaissance eras, in particular the work of Michelangelo, Albrecht Dürer, Lucas van Leyden, Jan van Eyck, and Adam Elsheimer.
In this work The Ancients found, like the Pre-Raphaelites did in the earliest of it, an artistic vision infused with religiosity, uncorrupted by contemporary materialism and individualism, produced in a spirit of creative fraternity and harmony with the natural order of the universe. On the influence of Dürer, Palmer is reported to have said: "Let me remember always, and may I not slumber in the possession of it, Mr. Linnell's injunction (delightful in the performance), 'Look at Albert Dürer'."
As this suggests, John Linnell was particularly important as a conduit for the Ancients' art-historical knowledge. Not only was he a source of expertise but he was also able to introduce them to the collection of Northern European paintings, including many Renaissance works, held by Karl Aders, a German merchant and collector based in London. These included a copy of the Van Eyck brothers' Ghent Altarpiece, with its central panel The Adoration of the Mystic Lamb (1420s-32), whose "clarity of detail", "celebration of nature in all its rich detail," and depiction of the "human, natural and spiritual worlds" in harmony was, Paley notes, inspirational to Blake as well as to his young compatriots.
A Christian Arcadia in England
The rich pastoral landscapes of south-east England were central to The Ancients' artistic vision, which is why their relocation to Shoreham was so vital. The group's ideal of a rural Arcadia was, in turn centrally informed by their spirituality. But whereas William Blake's Albion is peopled by the weird deities and demons of his imagination, the Ancients' religiosity was more tethered to Christian tradition.
Despite the heretical strangeness of Blake's religious imagination, Palmer managed to home in on Blake's most conventionally Christian-themed and Biblical works in his early encounters with the older artist's output. As Paley notes, before turning to landscapes, Palmer was "drawn to figure-centered designs on Biblical subjects" under Blake's influence . This would have included Blake's Naomi Entreating Ruth and Orpah to Return to the Land of Moab (1795), as well as his Illustrations of the Book of Job (1806-21). Shortly after his first meeting with Blake, Palmer completed a set of sketches on subjects from the Book of Ruth, now lost, which were reportedly heavily influenced by the imagery and formal extravagance of both Blake and Henry Fuseli.
The spiritual essence of these figurative works was carried forwards into the landscapes which Palmer began to produce at Shoreham, and into the work of The Ancients as a whole. You can sense, in early Shoreham works such as Palmer's Coming from Evening Church (1830), the transference of a sensibility grounded in religious and allegorical tableaux into depictions of the contemporary English countryside. It is partly this that gives these landscapes such a strange sense of removal from their subject-matter, as if they were landscapes glimpsed through a veil of ancient enchantment.
Like their mentor Blake, The Ancients were vehemently opposed to the industrial revolution, and to the accompanying mechanization of labor and urbanization which marked the 19th century in Britain. They saw these processes as symptomatic of materialism, a spiritually degrading process by which people became detached from the spiritual essence of the landscape, of human relationships, and of their own characters.
High Tory pastoral
Although the Ancients shared Blake's infatuation with rustic life, they lacked his accompanying egalitarianism, which made him an ally of the downtrodden and a natural supporter of causes such as the French Revolution. The Ancients' political views, by contrast, veered towards a position which Palmer described as "High Tory": belief in a God-given hierarchy within human society mirroring that of the natural world, incorporating clearly separate but harmonious layers such as the aristocracy, church, and peasantry. The point of overlap between this position and Blake's radical left politics was a shared scorn for the new, mercantile worldview of industrial capitalism, which was dislodging the feudal system to which The Ancients clung and promising new forms of oppression to the working masses pitied by Blake.
Some indication of The Ancients' politics is provided by accounts of their stay at Shoreham and the reasons for its eventual end. Palmer's son A.H. Palmer once wrote that, judging from their pictures, "none of the Ancients seemed to know how reaping was done." As this suggests, the young artists had little direct contact with rural laborers, in spite of their eulogization of rural life, and seemingly had little empathy with their working conditions.
In 1830, when farm workers near Shoreham protested against the introduction of threshing machines by burning them along with hayricks and other equipment - a campaign known as the Captain Swing or Swing Riots - Palmer's reaction was furious anger and fear. He denounced the campaign as vicious thuggery in a public 1832 letter, and the events went some way to burst his Romantic vision of life at Shoreham.
Is this sense, it is important to remember that the spiritual vision infused in The Ancients' landscapes is one tied up with a sense of the human world as fixed in a divinely ordained pyramid of privilege. When that pyramid seemed to be under threat of collapse, The Ancients' worldview to some extent disintegrated with it.
International Compatriots
Although brotherhoods of the type that The Ancients formed were unprecedented in Britain at the time, similar groups had already emerged in continental Europe. The best-known were the Barbus or Primitives in France, formed in 1798, and the Brotherhood of St. Luke formed in Germany in 1808, later known as the Nazarenes. For Vaughan, "such associations can be seen as symptomatic of a widespread social and political tendency towards the formation of associations in the wake of the French Revolution. Inspired by the clubs of the Jacobins, such organizations emphasized the replacement of hierarchy with more egalitarian practices ."
In this sense, although The Ancients' vision of collective creativity was undoubtedly inspired, it was not unprecedented. Indeed, given that they were probably aware of The Nazarenes by the time they moved to Shoreham, and also that the German brothers had taken up quarters in an abandoned monastery, The Ancients' collective living arrangement and its monastic overtones might partly have represented a homage to, or mimicry of, the Nazarenes.
Although the formal idiosyncrasy of The Ancients' work sets it apart from Naturalism or Realism, their activities are also tangentially related to the emergence of those schools from the early 19th century, as a distinct outgrowth of the larger Romantic landscape movement. That movement was flourishing in the early 19th century through the influence of Turner and Constable, both of whom, along with John Linnell, were influential on members of the group at different times, helping to instill in them a love of landscape for its own sake.
Later Developments - After Ancients
After Shoreham
By the early 1830s, the Ancients' infatuation with ascetic rural life was waning, and visits from other members of the group to Palmer's house in Shoreham became less frequent. The group's disillusionment with the character of the rural English laborer after the Swing Campaign, exemplified by Palmer's reactionary anger, may have been partly to blame. However, Vaughan suggests that "lack of recognition was probably the primary reason for the artists dispersing", noting that "the Ancients achieved little success during the time they were active as a group ."
Other factors, such as Richmond's increasing focus on portraiture, Calvert's disillusionment with the more formally radical aspects of his youthful work, and Palmer's financial precarity, were all contingent on this underlying lack of commercial and critical appetite for their art. So, in 1835, Palmer moved back to London, to a house in St. John's Wood which he had bought with a second inheritance received in 1832. He began tutoring to supplement his artistic income.
In 1837, after Palmer married Hannah Linnell, he, Richmond, and their wives left on a two-year-long trip to Italy, at which point The Ancients, already geographically and artistically adrift, were effectively dispersed as a group. However, this break was not accompanied by the acrimony that sometimes marks the disintegration of intense artistic communities. Vaughan points out that "many [Ancients] remained close friends and continued to meet regularly, with the majority looking back on their association as the most inspirational artistic episode of their lives."
In his mature years, Palmer began to produce more formally conventional, less mystical works, partly from a desire to make a commercial success of his art, which was never fully realized. Nonetheless, he produced fine late works such as his watercolor illustrations for Milton's poems "L'Allegro" and Il Penseroso" (1864-81) and was admired by the younger artists of the Pre-Raphaelite Brotherhood. Richmond established himself as a portraitist, painting members of the nobility as well as authors such as Charlotte Brontë, while Calvert's work began to show a marked classical influence following a visit to Greece in 1844. So too did the later work of other members of the Ancients such as Francis Oliver Finch. All of the most important erstwhile members of the Ancients, however, would look back on the hallowed days at Shoreham as the most creatively rich period of their lives.
Legacy
The Ancients, with the exception of Samuel Palmer, remain a more obscure group of artists than their sometime master William Blake. But a love of their magical, light-filled landscapes and historical tableaux has gradually blossomed across the twentieth and early-twenty-first centuries.
During their lifetimes, and certainly during the active years of the brotherhood, most of the group achieved little success. For several decades after the deaths of the key members (Samuel Palmer in 1881, Edward Calvert in 1883, and George Richmond in 1896) interest in The Ancients remained subdued, although Palmer's connection to the Pre-Raphaelites ensured a thread of influence. The Ancients' impact on the late Romanticism of the Fin de siècle period can also be sensed. The great Irish poet of that era, W.B. Yeats, was inspired by The Ancients' imagery in several of his works, such as "Under Ben Bulben" and "The Phases of the Moon."
A gradual gathering of appreciation followed an exhibition of Ancients' work at the Victoria and Albert Museum in London in 1926. This was partly contingent on the increasing popularity of Blake at this time, as the younger artists were still largely considered his acolytes. Interest became more pronounced in creative circles during the early-to-mid twentieth century, during the "New Romantic" period in British art and literature. You can sense The Ancients' influence in works such as Graham Sutherland's Hangar Hill (1929), John Minton's illustrations for H.E. Bates's The Country Heart (1949), and the wood engravings of Reynolds Stone. Other artists influenced by Palmer and The Ancients include John Piper, the Nash brothers, and the composer Benjamin Britten, who, according to the critic Tim Barringer, requested that Palmer's Cornfield by Moonlight with the Evening Star (1830) be reproduced on the cover of his 1944 score for Serenade.
A 1956-57 exhibition organized by the Arts Council of Great Britain set the stage for the group's wider reception across the late-twentieth century. A series of US and UK books and exhibitions buoyed The Ancients' status, though it remained dominated by the figure of Palmer, and very limited within mainland Europe. In the early twenty-first century, exhibitions such as the 2005 Palmer retrospective at the British Museum and the Museum of Modern Art in New York, and books such as Rachel Campbell Johnson's Mysterious Wisdom: The Life and Work of Samuel Palmer (2011) have emphasized Palmer's status as that of a great English painter and sketcher of the 19th century, to be placed alongside Blake, while also emphasizing the creative richness of The Ancients' collective vision.
Useful Resources on Ancients
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STC’s THE TAMING OF THE SHREW Opening Night with André De Shields, Maulik Pancholy, Telly Leung, Oliver Thornton and More
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2016-05-28T00:00:00
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STC's THE TAMING OF THE SHREW Opening Night with André De Shields, Maulik Pancholy, Telly Leung, Oliver Thornton and More https://wp.me/pXK8r-18y
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en
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Lia Chang Photography
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https://liachangphotography.wordpress.com/2016/05/28/stcs-the-taming-of-the-shrew-opening-night-with-andre-de-shields-maulik-pancholy-telly-leung-oliver-thornton-and-more/
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Vivian Thurman and I attended the opening night performance of Ed Sylvanus Iskandar’s bold new interpretation of Shakespeare’s The Taming of the Shrew, featuring the music of Duncan Sheik, at Shakespeare Theatre Company’s Sidney Harman Hall in Washington D.C. on May 24, 2016.
The all-male cast includes Maulik Pancholy (Broadway: It’s Only A Play) “Weeds,” “30 Rock”) and Peter Gadiot (“Once Upon a Time in Wonderland”) as Katherina and Petruchio, and features two-time Tony nominee André De Shields (Ain’t Misbehavin’, The Wiz, The Full Monty, Play On!) as Gremio/Curtis/Vincentio; Oliver Thornton (West End: The Phantom of the Opera, Les Miserables) as Bianca; Drew Foster (Doctor Zhivago) as Biondello; Rick Hammerly as Widow; Telly Leung (Allegiance, Godspell, Rent, Pacific Overtures and Flower Drum Song) as Lucentio; Gregory Linington as Grumio; Matthew Russell as Tranio; Tom Story as Hortensio; Bernard White as Baptista; with James Crichton, Stephen Elrod, Jamison Foreman, Jackson Knight Pierce, Brian Reisman and Nicholas Yenson rounding out the Ensemble.
Spilling from the stage into the lobbies and the street, director Ed Sylvanus Iskandar’s production presents a provocative new approach to The Taming of the Shrew and an utterly unique audience experience.
Noted for his epic and immersive style, Iskandar extends the world of the production beyond the stage, creating a deeply engaging experience for audience members. In line with this vision, STC invokes the atmosphere of an Italian piazza (the Piazza d’Amore) in the Harman lobbies and offers audience and community members the opportunity to engage with the performers of The Taming of the Shrew off-stage preshow, during a musical intermezzo and postshow.
PRESHOW
THE MUSICAL INTERMEZZO
Vivian and I got a glass of prosecco from the minibar and headed onstage to enjoy the musical intermezzo with other audience members.
POSTSHOW
After the curtain call, audience members had the opportunity to mingle with the actors in the lobby.
The creative team includes Scenic Designer Jason Sherwood, Costume Designer Loren Shaw, Lighting Designer Seth Reiser, Sound Designer Jeremy S. Bloom, Choreography by Chase Brock, Music Supervisor/Arranger David Dabbon, Music Director Jody Schum, Associate Costume Designer Dana Burkart and Assistant Lighting Designer Jimmy Lawlor. Iskandar is supported by Voice and Text Coaches Gary Logan and Ellen O’Brien, and assisted by Production Stage Manager Joseph Smelser and Assistant Stage Manager Robyn M. Zalewski. Craig Baldwin serves as Immersive Designer and Iskandar’s Assistant Director.
OPENING NIGHT PARTY
André De Shields as Vincentio. Costume Design by Loren Shaw.
The Taming of the Shrew began preview performances on May 17, and continue through June 26 at STC’s Sidney Harman Hall (610 F Street NW) in Washington D.C. To purchase tickets or to learn more, patrons can call the box office at 202.547.1122 or visit ShakespeareTheatre.org.
ABOUT THE SHAKESPEARE THEATRE COMPANY
Recipient of the 2012 Regional Theatre Tony Award®, the Shakespeare Theatre Company (STC) is the nation’s leading premier classical theatre company. Today, STC is synonymous with artistic excellence and making classical theatre more accessible to audiences in and around the nation’s capital.
Under the leadership of Artistic Director Michael Kahn and Executive Director Chris Jennings, STC’s innovative productions inspire dialogue that connects classic works to the modern human experience. The Company focuses on works with profound themes, complex characters and poetic language written by Shakespeare, his contemporaries and the playwrights he influenced in order to preserve and promote classic theatre—ambitious, enduring plays with universal themes—for all audiences.
A leader in arts education, STC has a stable of initiatives that teach and excite learners of all ages, from school programs and adult acting classes to accessible community programming like play-relevant discussion series and the Free For All. For the past 25 years the Free For All program has offered an annual remount of a popular production completely free of charge to all audience members.
Located in downtown Washington, D.C., STC performs in two theatres, the 451-seat Lansburgh Theatre and the 774-seat Sidney Harman Hall. In addition to STC productions appearing year-round, these spaces also accommodate presentations from outstanding local performing arts groups and nationally renowned organizations. The Company has been a fixture in the vibrant Penn Quarter neighborhood since 1992.
Photos: Maulik Pancholy, Peter Gadiot, André De Shields, Telly Leung, Oliver Thornton and More in Ed Sylvanus Iskandar Helmed THE TAMING OF THE SHREW at Shakespeare Theatre Company (STC), opens May 24
Broadwayworld.com: Photo Flash: Andre De Shields, Maulik Pancholy, Telly Leung & More Celebrate Opening of STC’s THE TAMING OF THE SHREW
Click here for the Lia Chang Articles Archive and here for the Lia Chang Photography Website.
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https://www.alleytheatre.org/about-us/artists/
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Alley Theatre
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https://www.alleytheatre.org/about-us/artists/
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Elizabeth Bunch has appeared in over 90 productions as a member of the Resident Acting Company at Alley Theatre including Thornton Wilder’s The Emporium, Little Comedies, The Servant of Two Masters, Clue, Dead Man’s Cell Phone, Constellations, Grounded, The Humans, Twelfth Night, The Winter’s Tale, As You Like It, Pygmalion, Describe the Night, Othello, The 39 Steps, Other Desert Cities, Clybourne Park, Lieutenant of Inishmore, Doubt, Proof, and Who’s Afraid of Virginia Woolf? NYC and Regional: Playwrights Horizons, Guthrie, Denver Center, Bread Loaf Acting Ensemble, Keen Company, and The Flea. Most recently, she could be found directing at UH and 4th Wall Theater. @Its_Elizabeth_Bunch.
Michelle Elaine Alley Theatre: Clue, Dead Man’s Cell Phone, Sense and Sensibility, Sweat, Quack, All The Way, The Old Friends. Alley@Home: For Steve Wozniak, On His 67th Birthday. Alley All New: Enlightened, The Carpenter. AD Players: The Christmas Shoes. Stages: POTUS, We Are Proud to Present…, Failure: A Love Story, Dollhouse. The Ensemble Theatre: Clyde’s (2023 Houston Press Awards-Best Supporting Actress), School Girls; Or the African Mean Girls Play, By The Way: Meet Vera Stark, Knock Me a Kiss, Lotto: Experience the Dream, Gee’s Bend, Jitney. 4th Wall: Disgraced. Classical Theater Company: Miss Julie. Theatre Southwest: Bug. TV: “Walker” (CW), “Underground” (WGN), “MacGyver” (CBS). You can watch Michelle’s newly released web series “Cast Me Dammit!” on YouTube!
Dylan Godwin is a Resident Acting Company member and recently appeared in the Alley Theatre’s Dial M for Murder (Lesgate), Little Comedies (Aplombov), Agatha Christie’s The Murder of Roger Ackroyd (Ralph Paton), The Servant of Two Masters (Silvio), Clue (Wadsworth), Born with Teeth (Will), and Fully Committed (Sam). National Tour: Fiddler on the Roof. Regional: Born with Teeth (Guthrie Theatre and Asolo Rep); Miller, Mississippi (Dallas Theatre Center); Beauty and the Beast, 110 in the Shade, Reefer Madness, The Music Man, First Date, Bonnie and Clyde, Oliver, Sweet Potato Queens (Theatre Under the Stars); Life Could Be A Dream, AltarBoyz (Stages).
Chris Hutchison this past season was one of Chris’s favorites in his 19 years as a member of the Resident Acting Company. He appeared in Chekov’s Little Comedies, The Nerd, and Jane Eyre. Past favorites include: Quack, Constellations, and The Lieutenant of Inishmore. A 30-year career has taken him from Los Angeles to NYC to Houston and many points between. BA Lafayette College, MFA University of Washington. Proud member of Actors’ Equity and SAG-AFTRA.
Melissa Molano is a Resident Acting Company member. Previous Alley shows include Little Comedies, Agatha Christie’s The Murder of Roger Ackroyd, The Servant of Two Masters, A Christmas Carol, Clue, Sense and Sensibility, and 72 miles to go… Other previous roles include: Stages Theatre: The River Bride (Belmira), Luna Gale (Lourdes), I and You (Caroline), The Book of Maggie (Maggie); SHSU Musical Theatre and TPAP alumna. She is also a voice actor featured in various series and movies that stream on HiDive and Netflix. Instagram/ Twitter: @melissacmolano.
David Rainey is in his 24th season as a Resident Acting Company member recently appearing in Thornton Wilder’s The Emporium, The Nerd, Little Comedies, Agatha Christie’s The Murder of Roger Ackroyd, The Servant of Two Masters, Clue, Sweat, and as Ebenezer Scrooge in A Christmas Carol. He has also performed with The National Actors Theatre, Guthrie Theater, Steppenwolf Theatre Company, Manhattan Theatre Club, Berkeley Rep, Theatre de la Jeune Lune, Hartford Stage, Dallas Theater Center, among others. He trained at Juilliard, receiving its highest honor, the Michel and Suria Saint-Denis Prize. He also coaches acting year-round.
Christopher Salazar is a Resident Acting Company member. Alley audiences may remember him from Thornton Wilder’s The Emporium, The Nerd, Little Comedies, Agatha Christie’s The Murder of Roger Ackroyd, The Servant of Two Masters, Sherlock Holmes and The Case of The Jersey Lily, Clue, 72 miles to go…, and The Humans. Select credits include: Three seasons with the Oregon Shakespeare Festival, and the world premieres of The Copper Children, The Way the Mountain Moved, and Off the Rails; eleven productions at The Old Globe; and the award-winning Ameryka with Critical Mass Performance Group. TV: Robert Torres on “Jane, The Virgin.” MFA: Old Globe Theatre/ USD, BA: UNC-Chapel Hill.
Todd Waite is in his 24th season as a Resident Acting Company member. Recently seen in Alley Theatre’s Dial M for Murder, Jane Eyre, Pictures from Home, Little Comedies, and Agatha Christie’s The Murder of Roger Ackroyd. He has appeared in over 130 Alley productions including five appearances as Sherlock Holmes and eight in the one-man show The Santaland Diaries. He spent six seasons with the Shaw Theatre Festival and was the resident director for Cirque du Soleil’s ‘O’ in Las Vegas. Mr. Waite received the Presidential Young Arts Award for Acting Teachers. Education: BFA (Acting), MFA (Directing).
Gabriel Regojo is excited to be back at Alley Theatre. Previous Alley credits include: Jane Eyre (St. John Rivers), Sense and Sensibility (Male Swing). Additional credits include: Classical Theatre (Company Member): War of The Worlds (George), R.U.R. (Alquist), Nevermore (Actor 1), Lysistrata (Cinesias); Catastrophic Theatre (Core Ensemble): Eddie goes to Poetry City (Eddie), The Blackest Shore (Stuart), Bootycandy (Actor 5); Stages Repertory Theatre: My Mañana Comes (Jorge), Water by the Spoonful (Elliot); Rec Room: Sender (Jordan), Exit Strategy (Luce); Mildred’s Umbrella Theater Company: Dry Land (Victor). Gabriel is also a current Teaching Artist with Alley ECE and Voice Actor with over 40 credits in anime and video games.
Agatha Christie Born in Torquay, England in 1890, Agatha Christie is the best-selling novelist of all time. With over one billion books sold in English and another billion in over 100 languages, she is outsold only by the Bible and Shakespeare. She wrote 80 crime novels and collections of short stories, over 25 plays (including The Mousetrap, the world’s longest running play), and six novels under the pseudonym Mary Westmacott. Her first novel, The Mysterious Affair at Styles, introduced the world to the Belgian detective Hercule Poirot, followed a decade later by the shrewd and often-underestimated Miss Marple.
Brenda Abbandandolo Broadway: Mary Jane, The Sign In Sidney Brustein’s Window (2023 Hewes Design Award). Off Broadway: Scene Partners (Vineyard), The Sign In Sidney Brustein’s Window (Bam), Camp Siegfried (Second Stage), A Case For The Existence Of God (Signature), Russian Troll Farm (Virtual: Obie Award), Moby Dick (A.R.T), Octet (Signature), Continuity (MTC), Enemy Of The People (The Guthrie), I’ll Get You Back Again (Roundhouse), The Team’s Mission Drift (National Theatre of London). Film/ TV: The Quiz Lady, Coda (Academy Award Best Picture), An American Pickle, The Disaster Artist, Saturday Night Live (Associate CD). Other: MFA/NYU TSOA, The Team, bnadesigner.com.
Elizabeth Williamson (she/her/hers) is an OBIE Award-winning director, dramaturg, and adapter. Alley Theatre: Jane Eyre. Broadway/West End: The Inheritance (Tony, Olivier, Critics Circle, Evening Standard, GLAAD, and Drama Desk Awards for Best Play, Outer Critics Circle Honoree), A Gentleman’s Guide to Love and Murder (Tony Award for Best Musical), Anastasia, Some Like It Hot. Off-Broadway/ Regional: About Face, ACT, Berkeley Rep, Cal Shakes, Court Theatre, Hartford Stage, La Jolla Playhouse, The Old Globe, Oregon Shakespeare Festival, Pioneer Theatre, Primary Stages, Steppenwolf, Theatre de La Jeune Lune, The Vineyard, Westport Country Playhouse, Williamstown Theatre Festival, The Young Vic in London. Williamson’s adaptation of Jane Eyre is published by TRW, she received a 2007 NEA Fellowship in Literary Translation and is a member of SDC and LMDA. Education: M.St., Oxford University; B.A., Bennington College; trained at the École Internationale de Théàtre Jacques Lecoq. Williamson currently serves as Artistic Director of Geva Theatre in Rochester NY.
Ethan Mitchell is ecstatic to return to Alley Theatre! Previously: The Bleeding Class (Alley All New Festival 2023), Cowboy Bob, High School Play: A Nostalgia Fest. Seven seasons and over 20 productions at Theatre Under the Stars. Houston Ballet: Coppélia, The Merry Widow, Marie, and The Nutcracker (2019-2022). ZACH Theatre: Natasha, Pierre & the Great Comet of 1812. Ethan has a BFA in Theatre from Texas State University, and is a proud member of the Actors’ Equity Association.
H. Russ Brown is a nationally recognized Fight Director and Certified Teacher with the Society of American Fight Directors. His work on the Alley Theatre stage has included The Three Musketeers (2019 Houston Press Award), The Servant of Two Masters, and Cleo. He currently serves as the Head of Theatre / Artistic Director at College of the Mainland. His greatest source of pride, however, is his beautiful family, whom he loves more than swords.
Molly Wetzel is a professional voice and dialect coach and actor. She’s an Assistant Professor of Voice and Speech at the University of Houston and teaches clients from around the world through her private business, “molly does dialects.” She holds a BFA in Musical Theatre from Otterbein University and an MFA in Acting from the University of Houston.
James Black An actor and occasional director, he has been involved in over 100 productions. Recent appearances include A Midsummer Night’s Dream (Bottom), All My Sons (Joe Keller), As You Like It (Jacques), Dracula (Van Helsing), Communicating Doors (Julian), Freud’s Last Session (Sigmund Freud), You Can’t Take It With You (Martin Vanderhof), The Hollow (Sir Henry Angkatell), Sherlock Holmes and the Adventure of the Suicide Club (Mr. Richards/ Mycroft Holmes), The Elephant Man(Man/Conductor/Snork), A Few Good Men (Capt. Matthew A. Markinson), Black Coffee (Hercule Poirot), Noises Off (Lloyd Dallas), The Seafarer (James “Sharky” Harkin), The Seagull (Trigorin), Dividing the Estate (Lewis Gordon), Pygmalion (Colonel Pickering), Amadeus (Count Orsini-Rosenberg), August: Osage County (Steve Heidebrecht), Peter Pan (Captain Hook/Mr. Darling), St. Nicholas, Boeing-Boeing (Bernard), Harvey (Elwood P. Dowd), Mrs. Mannerly (Jeffrey), and Our Town (Stage Manager) among others. He has also directed Good People, Clybourne Park, A Behanding in Spokane, Doubt, Death on the Nile, Glengarry Glen Ross, Deathtrap, Dial “M” for Murder, Our Lady of 121st Street, The Foreigner, Of Mice and Men, and As Bees in Honey Drown. His film and television credits include Olympia, The Man with the Perfect Swing, Houston: The Legend of Texas, Fire and Rain, Challenger, Night Game, and Killing in a Small Town. He received a Theatre World Award for Outstanding Broadway Debut and a Drama Desk nomination for Best Actor for Not About Nightingales and a BackStage West Garland Award for his appearance as Eddie Carbone in the Alley’s production of A View from the Bridge.
Paul Hope is a native Houstonian and a Resident Acting Company Member Emeritus, who has appeared on the Alley stages for 28 seasons in a wide range of roles, recently including Henry Hailsham-Brown in Agatha Christie’s Spider’s Web; Rep. Howard “Judge” Smith, Cartha “Deke” DeLoach, Sen. Everett Dirksen, and Gov. Carl Sanders in All The Way; Harry Dangle in One Man, Two Guvnors; Sergeant “Froggy” Le Sueur in The Foreigner; Mr. Kirby in You Can’t Take it With You; Edward Raynor in Black Coffee; Crumpet in The Santaland Diaries; and Beverly Carlton in The Man Who Came to Dinner; among many others. His musical theatre roles include Rohna in Grand Hotel and Col. Lockert in Dodsworth, both at Casa Mañana in Fort Worth; and Beauregard in Mame, Bienstock in Sugar and M. Renaud in La Cage all at Theater Under the Stars. He took over for John Lithgow as the narrator of Carnival of the Animals for Houston Ballet, Pennsylvania Ballet, and Tulsa Ballet. He is the Artistic Director for Bayou City Concert Musicals, which has presented concert stagings of Follies, Falsettos; A Little Night Music; She Loves Me; 70 Girls 70; Assassins; Fiorello; The Secret Garden; Pal Joey; On the Town; Gentlemen Prefer Blondes; Finian’s Rainbow; One Touch of Venus; The Pajama Game; New Girl in Town; Bells are Ringing; and Promises, Promises. He recently directed Cabaret at Obsidian Theater.
Charles Krohnhas appeared in August: Osage County, Our Town, The Man Who Came to Dinner, Othello, Treasure Island, Subject to Fits, Much Ado About Nothing, Witness for the Prosecution, A Funny Thing Happened on the Way to the Forum, and Twelfth Night, among others. Otto Frank in The Diary of Anne Frank, an Alley collaboration with the University of Houston. The Best Little Whorehouse in Texas at The Desert Inn in Las Vegas. Locally, title role in Barrymorefor Theatre LaB. All Over, A Kind of Alaska, The Collection, A Delicate Balance, and A Man from Nebraska for Stages Repertory Theatre. Firs in The Cherry Orchard for Classical Theatre Company. Captain Shotover in Heartbreak House for Main Street Theatre. Shylock in The Merchant of Venice, Claudius in Hamlet, and the title role in King Lear for Houston Shakespeare Festival. Over forty productions for Theatre Under the Stars, including Oliver!, Camelot, A Little Night Music, and Beauty and the Beast. He is a proud member of Actors’ Equity Association.
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[
"Loie Hollowell",
"Loie Hollowell artist",
"Loie Hollowell Pace",
"Loie Hollowell Pace Gallery",
"Pace Gallery",
"Contemporary Art",
"Contemporary Artist",
"Art Gallery"
] | null |
[] |
2023-01-12T00:00:00
|
Loie Hollowell is recognized for her paintings that evoke bodily landscapes and sacred iconography, using geometric shapes to move a figure or its actions into abstraction.
|
en
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https://www.pacegallery.com/static/images/favicon.dc63b0105878.ico
|
https://www.pacegallery.com/artists/loie-hollowell/
|
2024
The Infinite Woman, Fondation Carmignac, Paris, April 27–November 3, 2024.
2023
Group Exhibition, Jessica Silverman Gallery, San Francisco, opens on August 18, 2023.
Tondo, Anton Kern Gallery, New York, June 7–August 11, 2023.
x PINK 101, X Museum, Beijing, China, May 28–August 6, 2023.
Tropic of Cancer, Pace Gallery, Palm Beach, Florida, February 9–March 12, 2023.
Brave New World - 17 Painters for the 21st Century, Museum De Fundatie, Zwolle, the Netherlands, January 28–June 11, 2023.
Love Letter: Curated by Loie Hollowell and Harminder Judge, Pace Gallery, 540 West 25th Street, New York, January 13–February 25, 2023. (Catalogue)
2022
Being In the World: The Tenth Anniversary of the Long Museum, Long Museum (West Bund), Shanghai, November 13, 2022–February 5, 2023.
Earthseed: Julie Curtiss, Loie Hollowell, Marguerite Humeau, White Cube Gallery, Paris, October 18–December 17, 2022.
Mother and Child, Friends With You, San Francisco, October 1, 2021–January 31, 2022.
One Decade of Female Sculptors, Konig Gallery im KHK, Vienna, October 8–November 21, 2021.
Peep Show, Anton Kern Gallery, New York, September 8–October 31, 2021.
Applied Anxiety, Allouche Benias Gallery, Athens, October 7–November 11, 2021.
Gender Euphoria, Jessica Silverman Gallery, San Francisco, July 23–September 3, 2022.
Put It This Way: (RE)Visions of the Hirshhorn Collection, The Hirshhorn Museum and Sculpture Garden, Washington, D.C., August 2, 2022–Fall 2023.
Pattern Recognition (curated by Amy Lincoln), Sperone Westwater, New York, June 23–July 29, 2022.
Now I am a Lake (curated by Rose Nestler), Public Gallery, London, June 22–July 22, 2022.
Put It This Way: (Re)Visions of the Hirshhorn Collection, Hirshhorn Museum and Sculpture Garden Washington, D.C., July 22, 2022–Fall 2023.
52 Artists: A Feminist Milestone, The Aldrich Contemporary Art Museum, Ridgefield, Connecticut, June 6, 2022–January 8, 2023.
Ninth Street and Beyond: 70 Years of Women in Abstraction: Part II: Geometry, Hunter/Dunbar Projects, New York, April 14–May 25, 2022.
Emotional Intelligence, Polina Berlin Gallery, New York, February 22–April 23, 2022.
Artists Inspired by Music: Interscope Reimagined, Los Angeles County Museum of Art, Los Angeles, January 30–February 13, 2022.
Flesh Arranges Itself Differently, The Roberts Institute of Art, London, January 14–April 3, 2022.
2021
Stories of Abstration: Greenberg’s Nightmare, Pernod Ricard Foundation, Paris, November 16, 2021–January 22, 2022.
Artist + Identity: Portraiture, Performance, Doppelgängers, and Disguise, Art and Culture Center/Hollywood, Florida, June 5–August 15, 2021.
New Iconography: Artists Raising Children, The Landing, Los Angeles, March 27–May 8, 2021.
Inaugural Opening, GRIMM, New York, February 25–March 13, 2021.
2020
Nicolas Party: Pastel, The Flag Art Foundation, New York, October 10, 2020–February 15, 2021.
Myselves, Kohn Gallery, Los Angeles, September 11–November 4, 2020.
On View in East Hampton, Pace Gallery, 68 Park Place, East Hampton, New York, July 22–29, 2020.
American Women: The Infinite Journey, Brussels, Belgium, January 8–March 21, 2020.
2019
Leonhard Hurzlmeier: Told Tales, Rachel Uffner, New York, September 13–November 3, 2019. (Catalogue)
Away in the Hill, GRIMM, New York, June 27–August 2, 2019.
2018
My Silences Had Not Protected Me, Fort Gansevoort, New York, November 8–December 22, 2018.
Cheeky: Summer Butts, Marinaro, New York, June 29–August 3, 2018.
The Beyond: Georgia O’Keeffe and Contemporary Art, Crystal Bridges Museum of American Art, Bentonville, Arkansas, May 26–September 3, 2018. Travelled to: The New Britain Museum of Art, New Britain, Connecticut, February 22–June 2, 2019.
Surface Work, Victoria Miro, London, April 11–May 19, 2018.
10, Anton Kern Gallery, New York, January 12–February 14, 2018.
Line and Verse, Andréhn-Schiptjenko, Stockholm, January 11–February 17, 2018.
2017
Engender, Kohn Gallery, Los Angeles, November 11, 2017–January 27, 2018.
Summer Days (and Summer Nights), Pace Gallery, 32 East 57th Street, New York, July 20–August 18, 2017
Dreamers Awake, White Cube Bermondsey, London, June 28–September 17, 2017. (Catalogue)
Inaugural Exhibition: Oliver Twist, Chapter 2, Rental Gallery, East Hampton, New York, May 20–June 17, 2017.
2016
3 Women, The Landing, Los Angeles, June 23–September 17, 2016.
Self, Massimo De Carlo, London, June 10–July 29, 2016.
After Effect, Ballroom Marfa, Texas, March 11–August 21, 2016.
2015
PaintersNYC, Páramo, Guadalajara, December 16, 2015–January 23, 2016. Traveled to: El Museo de los Pintores Oaxaqueños, Oaxaca, May 11–May 15, 2016.
Mirror, Mirror, Memorial Hall Painting Gallery, Rhode Island School of Design, Providence, November 17–December 14, 2015.
Paul Klee, Underdonk, Brooklyn, October 10–November 1, 2015.
Eat a Peach, Jeff Bailey Gallery, Hudson, New York, September 5–October 18, 2015.
Introverse: A Group Show, Yashar Gallery, Brooklyn, August 14–30, 2015.
I Swallowed a Moon Made of Iron; for, I promise to burn brightly, Peninsula Art Space, Brooklyn, February 13–March 29. 2015.
2014
Feelin’ the Dream, Era VI VII VI, Queens, New York, May 31–June 1, 2014.
2013
Recent Paintings by Amy Lincoln, Loie Hollowell, with Ron Richter, Valentine Gallery, Queens, New York, April 26–May 19, 2013.
10 Years Too Late, Institut für Alles Mögliche, Berlin-Mitte, March 10–20, 2013.
2012
Recent Drawings, Valentine Gallery, Queens, November 30–December 23, 2012.
Super Natural, Projekt722, Brooklyn, September 7–October 14, 2012.
2011
Liminal Light, Project 4 Gallery, Washington, D.C., April 30–June 4, 2011.
2010
Subliminal Space, Camel Art Space, Brooklyn, December 10, 2010–January 16, 2011.
2009
a taste of sugar: inaugural show, Sugar, Brooklyn, September 26–November 7, 2009.
Elusive Interiors, A Gathering of the Tribes, New York, March 3–28, 2009.
2024
Akers, Torey. “’The experience of giving birth is so abstract and intense’: Loie Hollowell on the challenge of painting pregnancy” (Pace Gallery exhibition review). The Art Newspaper, 29 April 2024. https://www.theartnewspaper.com/2024/04/29/the-experience-of-giving-birth-is-so-abstract-and-intense-loie-hollowell-on-the-challenge-of-painting-pregnancy
“The ARTnews Guide to a Great Day at Frieze LA.” ARTnews, 16 February 2024. https://www.artnews.com/art-news/news/frieze-los-angeles-2024-artnews-guide-1234696508/.
Barrie, Lita. “Highlights of Frieze Los Angeles.” Whitehot Magazine, 4 March 2024. https://whitehotmagazine.com/articles/highlights-frieze-los-angeles/624
Brewer, Gary. “Loie Hollowell's Space Between: A Survey of Ten Years at the Aldrich Museum” (exhibition review). Whitehot Magazine, 22 April 2024. https://whitehotmagazine.com/articles/space-between-survey-ten-years/6342
Buhe, Elizabeth. “Loie Hollowell” (Pace Gallery exhibition review). The Brooklyn Rail, April 2024. https://brooklynrail.org/2024/04/artseen/Loie-Hollowell-1
Capps, Kriston. “The Hirshhorn took its modern art treasures out of the vault. It’s a joy.” The Washington Post, 10 April 2024. https://www.washingtonpost.com/dc-md-va/2024/04/10/hirshhorn-revolutions-50th-anniversary/
Cubbin, Caroline. “Frieze Los Angeles 2024: A Guide to The Best Exhibitions, Events, and Parties.” L’Officiel, 29 February 2024. https://www.lofficielusa.com/art/frieze-los-angeles-2024-guide-exhibits-parties-events.
Dafoe, Taylor. “Loie Hollowell’s New Move From Abstraction to Realism Is Not a One-Way Journey” (Aldrich Contemporary Art Museum and Jessica Silverman exhibition reviews). Artnet, 19 January 2024. https://news.artnet.com/art-world/loie-hollowell-aldrich-jessica-silverman-2420634.
Hollowell, Loie. “Her Life in Art: An Interview with Painter Loie Hollowell.” Interview with Christa Terry. Observer, 16 April 2024. https://observer.com/2024/04/painter-pace-dilations-loie-hollowell-interview/
Hollowell, Loie. “Loie Hollowell with Amanda Gluibizzi” (Pace Gallery exhibition review). Interview with Amanda Gluibizzi. The Brooklyn Rail, April 2024. https://brooklynrail.org/2024/04/art/Loie-Hollowell-with-Amanda-Gluibizzi
Hollowell, Loie. “Loie Hollowell on Frottage, Fantasy and Feminist Erotica.” Interview with Sarah Thornton. Interview Magazine, 23 January 2024. https://www.interviewmagazine.com/art/loie-hollowell-narratives-the-aldrich-space-between.
“Hyperallergic Spring 2024 New York Art Guide.” Hyperallergic, 2 February 2024. https://hyperallergic.com/869750/hyperallergic-spring-2024-new-york-art-guide/.
Laster, Paul. “8 Must-See Solo Gallery Shows in February 2024.” Galerie Magazine, 5 February 2024. https://galeriemagazine.com/8-must-see-solo-gallery-shows-february-2024/.
“Loie Hollowell: Dilation Stage” (Pace Gallery exhibition review). Arte Realizzata, 9 April 2024. https://www.arterealizzata.com/exhibition-showcase/loie-hollowell-dilation-stage
“Pace Gallery at Frieze Los Angeles.” Martin Cid Magazine, 24 February 2024. https://martincid.com/art/pace-gallery-at-frieze-los-angeles/.
Rabb, Maxwell. “What Sold at Art Basel Hong Kong 2024.” Artsy, 1 April 2024. https://www.artsy.net/article/artsy-editorial-sold-art-basel-hong-kong-2024
Urist, Jacoba. “Loie Hollowell Abstracts the Female Body.” W Magazine, 18 January 2024. https://www.wmagazine.com/culture/loie-hollowell-artist-studio-interview.
Uttam, Payal. “Beyond Yayoi Kusama, 5 more women artists you should know in 2024: from Wangechi Mutu’s formidable female figure to Anna Weyant, the ‘millennial Botticelli’ who just broke up with Larry Gagosian.” South China Morning Post, 1 April 2024. https://www.scmp.com/magazines/style/lifestyle/leisure/article/3257058/beyond-yayoi-kusama-5-more-women-artists-you-should-know-2024-wangechi-mutus-formidable-female?campaign=3257058&module=perpetual_scroll_0&pgtype=article
2023
Anapur, Eli. “What to See at Paris+ par Art Basel 2023.” Widewalls, 16 October 2023. https://www.widewalls.ch/magazine/paris-par-art-basel-2023
Belcove, Julie. “How a New Generation of Women Painters Is Creating Dreamy Kaleidoscopic Works.” Robb Report, 26 February 2023. https://robbreport.com/shelter/art-collectibles/millennial-female-colorful-art-1234808608/
Benzine, Vittoria. “Ther Top 5 Exhibitions to see in New York right now” (Pace Gallery exhibition review). FAD Magazine, 31 January 2023.
Compton, Nick. "Generation Generative." Wallpaper, 2023. p. 82–83.
“Editor’s Pick: Love Letter.” Editorial Magazine, 24 February 2023. http://the-editorialmagazine.com/loie-hollowell-harminder-judge/
Fuller, Corey. “17 Best Art Galleries In NYC You Should Visit Right Now.” Secret NYC, 21 February 2023. https://secretnyc.co/best-art-galleries-in-nyc/
Gómez-Upegui, Salomé. “The New Generation of Transcendental Painters.” Artsy, 28 February 2023. https://www.artsy.net/article/artsy-editorial-new-generation-transcendental-painters
Greenberger, Alex. “33 Must-See Exhibitions to Visit This Winter” (Aldrich Contemporary Art Museum exhibition review). ARTnews, 1 December 2023. https://www.artnews.com/list/art-news/news/museum-shows-to-see-winter-2023-us-international-1234687898/isabel-quintanillas-intimate-realism-retrospective-at-museo-thyssen-bornemisza-madrid/.
Halperin, Julia. “How Artists Are Breaking the Taboos Around Depicting Birth” (Pace Gallery exhibition review). The New York Times Style Magazine, 6 December 2023. https://www.nytimes.com/2023/12/06/t-magazine/birth-art-labor-mothers.html?partner=slack&smid=sl-share.
“Here Are the Most Bankable Artists of the Year, So Far.” Artnet News, 23 August 2023. https://news.artnet.com/market/most-bankable-artists-intelligence-report-mid-year-2023-2350025
Hollowell, Loie. “Loie Hollowell: The Third Stage.” Interview with Kristen Knupp. Art Vista, 4 September 2023. https://art-vista.com/loie-hollowell-the-third-stage/
Kakar, Arun. “What Sold at Paris+ par Art Basel 2023.” Artsy, 23 October 2023. https://www.artsy.net/article/artsy-editorial-sold-paris-par-art-basel-2023.
Lesser, Casey. “Loie Hollowell on Abstraction, Making the Grotesque Beautiful, and Her Latest Work.” Artsy, 14 March 2023. https://www.artsy.net/article/artsy-editorial-loie-hollowell-abstraction-making-grotesque-beautiful-latest-work
Nyeanch, Ghailah. “VCUarts alum draws attention to sexuality, pregnancy, more in exhibition.” The Commonwealth Times, 31 August 2023. https://commonwealthtimes.org/2023/08/31/vcuarts-alum-draws-attention-to-sexuality-pregnancy-more-in-exhibition/.
Oggier, Ambre. “Geneva Art Week: trio avec brio.” Go Out!, 1 September 2023. https://gooutmag.ch/geneva-art-week-trio-avec-brio/.
Rea, Naomi. “The Second Paris+ Started With a Bang. Could Art Basel’s New Venture Unseat Its Flagship Fair One Day?” Artnet News, 18 October 2023. https://news.artnet.com/market/paris-plus-2023-sales-2380644
Villa, Angelica. “$6 M. Kerry James Marshall Painting Leads Strong Sales at Paris + par Art Basel.” ARTnews, 19 October 2023. https://www.artnews.com/list/art-news/market/paris-plus-par-art-basel-sales-report-1234683739/kerry-james-marshall-marlene-dumas-at-david-zwirner/
Woodcock, Victoria. “The cosmic heirs of Hilma af Klint.” Financial Times, 26 May 2023. https://www.ft.com/content/d74eafd4-ea92-414b-b572-e334abc03c9a
2022
Allen, Shane. “Loie Hollowell: Artist Spotlight.” Populist Magazine, 23 March 2022. https://populistmagazine.com/post/loie-hollowell-artist-spotlight/.
Binlot, Ann. “At the Aldrich, Revisiting a Groundbreaking Show for Feminist Art.” New York Magazine’s The Cut, 7 June 2022. https://www.thecut.com/2022/06/look-inside-52-artists-a-feminist-milestone.html
Compton, Nick. “Generative art: the creatives powering the AI art boom.” Wallpaper*, 12 December 2022. https://www.wallpaper.com/art/generative-art
Crets, Douglas. “The World Is Made of Many Pleasures: Loie Hollowell’s Wisdom.” Sotheby’s, 28 March 2022. https://www.sothebys.com/en/articles/the-world-is-made-of-many-pleasures-loie-hollowells-wisdom
Gaskin, Sam. “Christie’s Launches Dedicated NFT Platform ‘Christie’s 3.0.’” Ocula, 28 September 2022. https://ocula.com/magazine/art-news/christies-launches-dedicated-nft-platform/
Jhala, Kabir. “Painter Loie Hollowell, who is launching an NFT series to support abortion funds, discusses politics, motherhood and her market.” The Art Newspaper, 28 October 2022. https://www.theartnewspaper.com/2022/10/28/nft-support-us-abortion-funds-loie-hollowell-pace-verso
Kazakina, Katya. “Surrealist Art Is Everywhere Right Now. The Prices Are Pretty Surreal, Too.” Artnet News, 13 September 2022. https://news.artnet.com/market/surrealist-art-market-2175075
Lee Youngran, "Promising American artist Roy Hollowell's first solo exhibition in Korea at Pace Seoul" (Pace Gallery exhibition review). Newspim, 9 May 2022.
Lim Jinho. "Two Faces of Female Abstract" (Pace Gallery exhibition Review). Art in Culture, June 2022.
"Loie Hollowell." In Great Women Painters, Phaidon: London, 2022: 136, illustrated.
“Pace Recruits Top Gallery Stars, Including teamLab and Loie Hollowell, to Create NFTs for Its Web3 Arm.” Artnet News, 27 September 2022. https://news.artnet.com/market/pace-verso-announces-new-round-of-nft-collaborations-2182274
“Pace Verso and Art Blocks Detail First-Ever NFT by Loie Hollowell.” NFT Culture, 20 October 2022. https://www.nftculture.com/nft-artists/pace-verso-and-art-blocks-detail-first-ever-nft-by-loie-hollowell/
“Pace Verso Details Fall 2022 NFT Program, Launching on October 10.” NFT Culture, 27 September 2022. https://www.nftculture.com/nft-news/pace-verso-details-fall-2022-nft-program-launching-on-october-10/
Park Hyunjoo. "New York's hottest MZ artist Loie Hollowell's first solo exhibition in Korea" (Pace Gallery exhibition review). Financial News, 8 May 2022.
Park Hyunjoo. "New York's hottest MZ artist Loie Hollowell's first solo exhibition in Korea" (Pace Gallery exhibition review). NEWSIS, 8 May 2022.
Pricco, Evan. “Loie Hollowell: Tick Tock Belly Clock @ Manetti Shrem Museum, Davis” (Manetti Shrem Museum exhibition review). Juxtapoz Magazine, 14 November 2022. https://www.juxtapoz.com/news/illustration/loie-hollowell-tick-tock-belly-clock-manetti-shrem-museum-davis/
Stevens, Robert. “How traditional artists are using Web3 to meet new audiences.” CoinDesk, 17 November 2022. https://www.coindesk.com/layer2/2022/11/17/nfts-web3-fine-art/?outputType=amp
“‘There Is Always That Hunting’: See How Artist Loie Hollowell’s Bodily Abstractions Reach for the Light Even When Confronting Dark Subjects.” Artnet News, 22 December 2022. https://news.artnet.com/art-world/there-is-always-that-hunting-see-how-artist-loie-hollowells-bodily-abstractions-reach-for-the-light-even-when-confronting-dark-subjects-2234061
Wilson, Brooke. “In Conversation with Julie Curtiss, Loie Hollowell and Marguerite Humeau.” émergent Magazine, 17 December 2022. https://www.emergentmag.com/interviews/julie-curtiss-loie-hollowell-and-marguerite-humeau
2021
Botz, Anneli. "Loie Hollowell – The Sacred Contract." König, no, 8,, 2021: 11-23, illustrated.
Durón, Maximilíano. “10 Works That Sold at This Year’s Frieze London.” ARTnews, 14 October 2021. https://www.artnews.com/gallery/art-news/photos/frieze-london-2021-sales-highlights-1234606937/forg-106763-hires/
Ghassemitari, Shawn. “Pace Gallery Brought a Star-Studded Lineup to Art Basel 2021.” Hypebeast, 21 September 2021. (opens in a new window) https://hypebeast.com/2021/9/pace-gallery-art-basel-2021
Giles, Oliver. “The Mother of Invention” (Long Museum West Bund exhibition review). Asia Tatler, (April 2021): 200–205, illustrated. https://hk.asiatatler.com/life/artist-loie-hollowell-interview
Hollowell, Loie. "LOIE HOLLOWELL." Interview with Osman Can Yerebakan. Artforum, 26 May 2021. https://www.artforum.com/interviews/loie-hollowell-on-painting-pain-and-her-second-birth-85783
"Loie Hollowell's Transcendent Bodies | Art21 'New York Close Up.'" YouTube video, 8:28. Posted by Art21, 14 April 2021.
Schneider, Tim. “How Prices for In-Demand Living Artists Accelerated to Hair-Raising New Speeds in 2021.” Artnet News, 15 December 2021. https://news.artnet.com/news-pro/gray-market-acceleration-pandemic-auction-2048670.
Shaw, Anny. “It's a woman’s world: what sold on Frieze's VIP day.” The Art Newspaper, 13 October 2021. https://www.theartnewspaper.com/2021/10/13/its-a-womans-world-what-sold-on-friezes-vip-day
Wilco, Hutch. “Loie Hollowell's Shanghai Recalibration” (Long Museum exhibition review). Ocula, 26 May 2021. https://ocula.com/magazine/insights/loie-hollowell-recalibrate/
Zhuangao, Artron. “She is the fastest rising female artist. She used her works to record two birth experiences” (Long Museum West Bund exhibition review). Artron, 31 March 2021. https://news.artron.net/20210331/n1093450.html
2020
Armstrong, Annie. “Why Artist Change Galleries.” Artsy, 27 January 2020. https://www.artsy.net/article/artsy-editorial-artists-change-galleries
D'Hoker, Trisha. “Pause.” Article Magazine, 20 May 2020. https://www.the-article-magazine.com/journal/pause
Donoghue, Katy. “Art Mamas: Loie Hollowell on ‘Going Soft'” (Pace Gallery online exhibition review). Whitewall, 17 July 2020. https://www.whitewall.art/art/art-mamas-loie-hollowell-going-soft
“Findings.” Harper’s Magazine, (January 2020): 96, illustrated. https://harpers.org/archive/2020/01/findings-january-2020/
Langmuir, Molly. “Women in Art.” Elle, January 2020.
“Loie Hollowell: Going Soft” (Pace Gallery online exhibition review). Art Guide, 3 July 2020. https://www.artguide.pro/event/loie-hollowell-going-soft/
“Loie Hollowell.” Romance Journal, no. 3 – Creation, 2020: 28–48, illustrated.
“The A-List: The Best Culture To Catch From Home This Week” (Pace Gallery online exhibition review). Vanity Fair, 5 July 2020. https://www.vanityfair.com/london/2020/07/the-a-list-the-best-culture-to-catch-from-home-this-week
Urist, Jacoba. "Artists Share the Most Inspiring Books They’re Reading Right Now.” Galerie Magazine, 30 March 2020. https://www.galeriemagazine.com/artists-share-inspiring-books-theyre-reading-right-now/
2019
Buhe, Elizabeth. “Loie Hollowell: Plumb Line” (Pace Gallery exhibition review). The Brooklyn Rail, (October 2019), https://brooklynrail.org/2019/10/artseen/Loie-Hollowell
“Art: Chelsea Morning.” Harper’s Bazaar, September 2019: 262, illustrated.
Baumgardner, Julie. “Change of Pace.” Galerie, no. 14 (Fall 2019): 42–44, illustrated.
Freeman, Nate. “How Newly Minted Art Market Star Loie Hollowell’s Prices Rose More Than 1,200 Percent in Just Three Years” (Pace Gallery exhibition review). Artnet News, 15 September 2019. https://news.artnet.com/market/how-loie-hollowells-prices-rose-1200-percent-in-three-years-1649155
Freeman, Nate and Tim Schneider. “Who’s the Next Market Superstar? Here Are 5 Artists to Watch at This Week’s Contemporary Art Auctions in New York.” Artnet News. 23 September 2019. https://news.artnet.com/market/artists-to-watch-in-contemporary-auctions-1653607
Giles, Oliver. “Leng Lin of Pace Gallery Talks About First Work of Art and Future Plans.” Indonesia Tatler, 18 February 2019. https://www.indonesiatatler.com/arts-culture/arts/https-hk-asiatatler-com-life-art-insider-leng-lin-pace-gallery
Hollowell, Loie. “A conversation with painting alumna Loie Hollowell.” VCU Arts, 9 September 2019. https://arts.vcu.edu/conversation-with-painting-alumna-loie-hollowell/
Kinsella, Eileen. "Take a Sneak Peek Inside Pace Gallery’s Giant New Chelsea Headquarters, AKA ‘Super Pace’" (exhibition reviews). Artnet News, 10 September 2019. https://news.artnet.com/market/new-pace-gallery-photos-1646902
Marius, Marley. “You’ll Want to Pay Close Attention at Loie Hollowell’s New Show” (Pace Gallery exhibition review). Vogue, 13 September 2019. https://www.vogue.com/article/loie-hollowell-plumb-line-pace-gallery
“Plumb Line: The Moving and Sublime Works of Loie Hollowell @ Pace Gallery, NY" (Pace Gallery exhibition review). Juxtapoz, 11 October 2019. https://www.juxtapoz.com/news/painting/plumb-line-the-moving-and-sublime-works-of-loie-hollowell-pace-gallery-ny/
Reid, Hilary. “Loie Hollowell Wants to Be the Amy Schumer of Abstract Art (Pace Gallery exhibition review).” New York Magazine, 14 September 2019. https://www.vulture.com/2019/09/inside-loie-hollowells-plumb-line-show-at-pace-gallery.html
“True Colors.” The Wall Street Journal Magazine, August 2019: 26, illustrated.
2018
Black, Holly. “That Summer Feeling: Eight Unmissable London Shows – Loie Hollowell, Dominant” (Pace Gallery exhibition preview). Elephant, 28 July 2018. https://elephant.art/summer-feeling-london-shows-see-august/
Hollowell, Loie. “Mothers versus Machines: Fluorescent Light & Full Bellies.” Interview with Holly Black. Elephant (Winter 2018–19): 82, 88–91, illustrated.
Ko, Christina. “Artist Loie Hollowell’s Exploration of Procreant Liberty” (Pace Gallery exhibition review). Prestige, 16 August 2018. http://prestigeonline.com/hk/art-culture/-/artist-loie-hollowells-exploration-procreant-liberty/
Lo. “Disclosure Basel.” Architectural Digest (China), June 2018: illustrated.
“Loie Hollowell at Pace Gallery” (exhibition review). The Week, 15 September 2018: 34, illustrated.
"On the Rise." Artsy, 30 April 2018. https://www.artsy.net/series/artsy-vanguard/artsy-editors-rise
“Raw Sensuality in Loie Hollowell’s Orgasmic Abstractions” (Pace Gallery exhibition review). Elephant, 14 September 2018. https://elephant.art/abstract-sensuality-loie-hollowell/
Tomsic, Sara. “Nun Sag, Wie Hast Du’s Mit Der Stille?” Hohe Luft, 3 August 2018: 40, illustrated.
Yip, Wing. “Ling Ren Mian Hong Er Chi de Chuang Zuo! Mei Guo Yi Shu Jia Loie Hollowell Yi Si Chu Zuo Ling Gan” (Pace Gallery exhibition preview). Harper’s Bazaar, 20 March 2018. https://www.harpersbazaar.com.hk/art-and-design/insider/Loie-Hollowell-exhibition
2017
Angeleti, Gabriella. “Object Lessons.” The Art Newspaper, November 2017: 66–67, illustrated.
Black, Holly. “Eight Genre-Defining Masterpieces from Female Surrealists” (White Cube exhibition review). AnOther, 29 June 2017. http://www.anothermag.com/art-photography/9959/eight-genre-defining-masterpieces-from-female-surrealists
Buhe, Elizabeth. “Loie Hollowell at Feuer/Mesler” (exhibition review). Art in America, 15 February 2017. http://www.artinamericamagazine.com/reviews/loie-hollowell/
Chang, Katie. “Abstract Thinking” (Pace Palo Alto exhibition review). Modern Luxury Silicon Valley (September/October 2017): 28, illustrated.
Duffy, Owen. “Loie Hollowell: Mother Tongue” (Feuer/Mesler exhibition review). ArtReview (January & February 2017): 115, illustrated.
Hollowell, Loie. “Light Source.” Interview with Haley Mellin. Garage (March 2017): 67–73, illustrated.
Kazakina, Katya. “These are the Young Female Artists to Watch.” Bloomberg, 19 October 2017. https://www.bloomberg.com/news/articles/2017-10-19/women-come-out-of-art-world-s-shadows-as-prices-rise-with-demand
Miller, Camille. “The Body Distilled: Loie Hollowell” (Pace Palo Alto exhibition review). Metroactive, 20 September 2017. http://www.metroactive.com/arts/Loie-Hollowell-The-Body-Distilled-New-York-Based-Artist-Art.html
Nonnenberg, Sheryl. “Body of Art” (Pace Palo Alto exhibition review). Palo Alto Online, 4 October 2017. https://www.paloaltoonline.com/news/2017/10/04/body-of-art
Pardee, Hearne. “Loie Hollowell: Point of Entry” (Pace Palo Alto exhibition review). The Brooklyn Rail, 5 October 2017. http://brooklynrail.org/2017/10/artseen/LOIE-HOLLOWELL-Point-of-Entry
Scallon, Melissa. “Picture Perfect” (Pace Palo Alto exhibition review). Hedge Magazine, No. 48 (November 2017): 70–75, illustrated.
Steadman, Ryan. “Explicit Symbols” (Pace Palo Alto exhibition preview). Cultured, 19 September 2017. http://www.culturedmag.com/loie-hollowell/
“Up Close & Personal” (Pace Palo Alto exhibition preview). C Magazine (September 2017): 152, illustrated.
Zinko, Carolyne. “Bohemian Upbringing Informs Loie Hollowell’s Art” (Pace Palo Alto exhibition preview). San Francisco Chronicle, 7 September 2017. http://www.sfchronicle.com/living/article/Bohemian-upbringing-informs-Loie-Hollowell-s-art-12181710.php#photo-14059194
2016
Allison, Genevieve. “Loie Hollowell, Feuer/Mesler” (exhibition review). Artforum.com. Accessed 20 December 2016. https://www.artforum.com/picks/id=65027
Bode, Katie. “’3 Women’ at The Landing” (exhibition review). Contemporary Art Review LA, 11 August 2016. http://contemporaryartreview.la/3-women-at-the-landing/
Mills, Katelynn. “Sunset Sex: Loie Hollowell at Feuer/Mesler” (exhibition review). Art Critical, 27 November 2016. http://www.artcritical.com/2016/11/27/katelynn-mills-on-loie-hollowell/
Mizota, Sharon. “What is the ‘women’s aesthetic’? The gallery show ‘3 Women’ offers some answers” (exhibition review). Los Angeles Times, 17 August 2016.
Whiteford, Meg. “Critics’ Picks: ‘3 Women’, The Landing” (exhibition review). Artforum.com. Accessed 20 December 2016. https://www.artforum.com/picks/id=62509
2015
Hollowell, Loie. “Interview: Loie Hollowell in Sunnyside.” Interview by Rob Kaiser-Schatzlein. Two Coats of Paint, 23 September 2015. http://www.twocoatsofpaint.com/2015/09/interview-loie-hollowell-in-sunnyside.html
Hollowell, Loie. “Painting a Strangely Spiritual and Sexual Pleasure.” Interview by Iris Cushing. Hyperallergic, 8 December 2015. http://hyperallergic.com/259701/painting-a-strangely-spiritual-and-sexual-pleasure/
Schwendener, Martha. “Loie Hollowell’s Abstract Body Landscapes” (106 Green exhibition review). The New York Times, 27 November 2015: C30.
2014
Apogee, no. 3 (Spring 2014): 68–69, illustrated.
2013
Zwerenz, John Lars. “Young artists flock to Ridgewood.” Queens Ledger, 1 May 2013. http://www.queensledger.com/view/full_story/22428699/article-Young-artists-flock-to-Ridgewood?instance=lead_story_left_column
2012
Hollowell, Loie. “Interview: Eve Before the Fall—Loie Hollowell by Twyla Fiocchi.” Interview by Twyla Fiocchi. Pulse VCU, 17 October 2012. https://pulsevcu.wordpress.com/2012/10/17/eve-before-the-fall-an-interview-with-loie-hollowell-by-twyla-fiocchi/
2011
New American Paintings no. 93, vol. 16, no. 2 (April/May 2011): 76–79, illustrated.
2010
New American Paintings no. 93, vol. 15, no. 2 (April 2010): 78–81, illustrated.
2008
Daniels. Calvin. “New York artist shows in Canora; Pieces inspired by ‘Lost’ TV series.” Yorkton Kaleidoscope, 5 November 2008.
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https://alanwake.fandom.com/wiki/Thornton
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Thornton is a character in the Alan Wake franchise. He is a deputy sheriff of Bright Falls, Washington, often partnered with Deputy Mulligan. He and Mulligan were active in investigating the string of disappearances around the town in 2010, and were part of a secret neighborhood watch which knew...
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https://static.wikia.nocookie.net/alanwake/images/4/4a/Site-favicon.ico/revision/latest?cb=20210617164534
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Alan Wake Wiki
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https://alanwake.fandom.com/wiki/Thornton
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Thornton is a character in the Alan Wake franchise. He is a deputy sheriff of Bright Falls, Washington, often partnered with Deputy Mulligan. He and Mulligan were active in investigating the string of disappearances around the town in 2010, and were part of a secret neighborhood watch which knew of the "weirdness" around Bright Falls and worked to keep the town safe from it, fighting the Taken in 2010.
Along with the Koskela Brothers and several other residents in town, Thornton and Mulligan eventually joined the Cult of the Tree in an effort to continue protecting the town by performing ritualistic "murders" using the Clicker to kill any Taken that emerged from Cauldron Lake. In 2023, Thornton and Mulligan were later possessed by the Darkness and killed by FBI Agent Saga Anderson during her investigation of the cult.
Biography[]
Background[]
The friend and partner of Deputy Mulligan, the two tend to argue a lot. Deputy Thornton came to Bright Falls in the 1990s and settled for the quiet life and the beautiful views of Bright Falls. As a Deputy he is used to being indoors at the Sheriffs Office taking 911 calls directed through to the Bright Falls Sheriff Station and dispatching calls. Thornton is a well liked member of staff and has a very positive and honest personality. He may not like taking orders from a female Sheriff as Sarah Breaker is the first female Sheriff to Bright Falls, but he does admire her ambition and drive.
Alan Wake[]
To be added...
Night Springs[]
Thornton's first visual appearance in the series, chronologically, is in the Night Springs comic. On the night of September 13, 2010, Thornton is one of the townspeople alerted of the ongoing crisis by Barry Wheeler's codeword phone call on Sarah Breaker's behalf, who end up gathering outside town limits. Others include fellow deputies Mulligan, Grant, and Janes, as well as Pat Maine and Sarah's father Frank.
When Frank arrives, the group updates him on the situation, with Mulligan and Thornton telling him how they had fought off several Taken on the way to the meeting, using light to defeat them. Putting together a quick action plan, Frank orders Mulligan and Thornton to investigate Cauldron Lake Lodge, believing that Emil Hartman is likely involved in the events.
Psycho Thriller[]
Following the events of Night Springs, Thornton and Mulligan arrive at Cauldron Lake Lodge as ordered, at least one full day after the Dark Presence's attack on the lodge, approximately around the dawn of September 14. Their arrival coincidentally scares off Ben Mott, who had been Taken on September 11. This saves Hartman and Nurse Sinclair, who were being attacked by Mott. The deputies help Hartman to defeat the Taken Mott. Afterwards, Hartman refuses to cooperate with their investigation and walks away, angering Mulligan and forcing Thornton and Sinclair to calm him down. The three are last shown leaving the lodge as the sun rises.
Alan Wake 2[]
Return[]
In Alan Wake 2, Thornton is one of the deputies found at the murder site of Robert Nightingale. He and Mulligan assist with FBI agents Saga Anderson and Alex Casey. Thornton is audibly apprehensive about outsiders joining the investigation, despite Mulligan's attempts to shush him as he was around both agents. The two are eventually revealed to be members of the Cult of the Tree who work with the Koskela Brothers to fend off Taken and keep the Dark Presence away from Bright Falls. However, the two end up accidentally killing a wandering woman, Monica Thompson, whom they thought was Taken, and are left shaken by their actions. Agreeing not to let their deeds be known, they dump her body in the Huotari Well at Coffee World to avoid suspicion.
Wracked with guilt, coupled with the influence of Alan Wake's writing of Return to guide Saga's story, Thornton and Mulligan ultimately become Taken by the Dark Presence. Realizing that they have the Clicker, Saga pursues the two possessed deputies to an Overlap at Huotari Well: the Dark Presence had corrupted the deputies into expies of Ilmari and Jaakkoppi Huotari, murderers from Watery who hid their victims in the well. She manages to open the Overlap by gathering the materials to finish a parade float featuring the Huotari brothers, including a moose skull used as Ilmari's mask. In the Overlap, Thornton and Mulligan emerge from the Huotari Well, with Thornton firing at Saga with his rifle. They are repeatedly resurrected by the Dark Presence, but Saga destroying orbs of darkness around the well makes the two Taken deputies vulnerable. Thornton and Mulligan are finally killed by Saga, allowing her to retrieve the Clicker.
Initiation[]
In Alan Wake's Dark Place version of New York which features as the setting of Initiation, characters "based on" Mulligan and Thornton appear in Echoes related to all three murder sites. In Initiation, the deputies "play" two corrupt NYPD officers connected to the Cult of the Word who abuse their positions to clean up the sites of murders committed by the cult.
In the first draft of Initiation, which features the ritual murder of an FBI agent in the Subway, an Echo shows the two officers discussing the case. They do not yet seem to be involved with the cult, and instead they merely talk about how it is "bad luck" to be part of the case investigating the cult. The officer with Thornton's voice shares rumors about how the cult will kill anyone who gets involved with it, and that they are led by the writer Alan Wake. The officer with Mulligan's voice calls the story "a load of bull."
In the second draft of Initiation, which features the slaughter of an acting troupe and the ritualistic murder of the lead actress in the Oceanview Hotel, the two officers are now fully involved with the cult. An Echo shows the two discussing their coverup of the hotel massacre. The officer with Thornton's voice expresses anger at being questioned by Alex Casey, a private detective investigating the cult; "Thornton" views Casey's involvement as interfering with the "proper police." He concocts a cover story for the murders, a "lone junkie" who went crazy from a new designer drug. The officer with Mulligan's voice says that appeasing the cult will allow them to join its inner ranks, and that they will dump the evidence related to the murder in the "usual place in the alley."
In the third draft of Initiation, the two officers and their connection to the cult is featured in full: this time, they are the murder victims, killed in a fake initiation ritual at the Poet's Cinema. There is only one Echo featuring the two, in which they speculate about what their initiation ritual will be, saying that the initiation will be well-deserved for all the work they'd done for the cult. The officer with Thornton's voice says it will be like they "died and went to heaven." Instead, as Casey (and Alan Wake in Casey's shoes)'s investigation reveals, the initiation was fake, and the officers were used as ritual sacrifices. Their bodies, hung for display, are later found by Alan in the cinema's projection booth; completing the investigation "ritual" allows Alan to open the Overlap at Parliament Tower and attempt his escape for the third time. The third draft is also intrinsically connected to the events surrounding Saga and the deputies at Coffee World: Alan "finds" the moose skull mask during his investigation, and his input allows the mask to appear in the real world, aiding Saga's journey. The deputies and the fictional officers are also expies of each other: cops distrustful of outsiders nosing in on their business, who become involved with a secret society and end up dead because of it; the deeper connection is left unspecified.
Trivia[]
Between him and Mulligan, he is the less experienced of the two deputy friends.
Dialogue in Alan Wake 2 suggests that Thornton is somewhat xenophobic, if not racist. Even during the beginning of the game, Thornton expresses annoyance about the FBI agents joining the investigation and makes various remarks towards them. In a Return manuscript page, Thornton is even written as mocking Saga for supposedly causing her daughter's death, and agreeing with Mulligan when the latter says "their kind sticks together" in reference to Saga's involvement making them unable to pin the blame on the Bookers. However, it is left unspecified how much of this was always part of the deputies' personalities, and how much of it is due to the reality-altering effects of the Dark Place influencing them as part of the Dark Presence bringing Return to life.
The idea of a "lone junkie who went crazy from a new designer drug" only to go on a murder spree is likely a nod to the plot of Max Payne.
Appearances[]
Alan Wake
Episode 2: Taken (voice only)
Episode 3: Ransom (voice only)
Episode 4: The Truth (voice only)
Night Springs (Comic)
Psycho Thriller (Comic)
Alan Wake 2
Return 1: Invitation
Return 2: The Heart
Return 3: Local Girl
Initiation 8: Zane's Film
Gallery[]
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Declaration of Independence: A Transcription
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2015-11-01T11:40:04-05:00
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Note: The following text is a transcription of the Stone Engraving of the parchment Declaration of Independence (the document on display in the Rotunda at the National Archives Museum.) The spelling and punctuation reflects the original.
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en
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National Archives
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https://www.archives.gov/founding-docs/declaration-transcript
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In Congress, July 4, 1776
The unanimous Declaration of the thirteen united States of America, When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.
We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.--That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, --That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.--Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.
He has refused his Assent to Laws, the most wholesome and necessary for the public good.
He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their operation till his Assent should be obtained; and when so suspended, he has utterly neglected to attend to them.
He has refused to pass other Laws for the accommodation of large districts of people, unless those people would relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only.
He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their public Records, for the sole purpose of fatiguing them into compliance with his measures.
He has dissolved Representative Houses repeatedly, for opposing with manly firmness his invasions on the rights of the people.
He has refused for a long time, after such dissolutions, to cause others to be elected; whereby the Legislative powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the mean time exposed to all the dangers of invasion from without, and convulsions within.
He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners; refusing to pass others to encourage their migrations hither, and raising the conditions of new Appropriations of Lands.
He has obstructed the Administration of Justice, by refusing his Assent to Laws for establishing Judiciary powers.
He has made Judges dependent on his Will alone, for the tenure of their offices, and the amount and payment of their salaries.
He has erected a multitude of New Offices, and sent hither swarms of Officers to harrass our people, and eat out their substance.
He has kept among us, in times of peace, Standing Armies without the Consent of our legislatures.
He has affected to render the Military independent of and superior to the Civil power.
He has combined with others to subject us to a jurisdiction foreign to our constitution, and unacknowledged by our laws; giving his Assent to their Acts of pretended Legislation:
For Quartering large bodies of armed troops among us:
For protecting them, by a mock Trial, from punishment for any Murders which they should commit on the Inhabitants of these States:
For cutting off our Trade with all parts of the world:
For imposing Taxes on us without our Consent:
For depriving us in many cases, of the benefits of Trial by Jury:
For transporting us beyond Seas to be tried for pretended offences
For abolishing the free System of English Laws in a neighbouring Province, establishing therein an Arbitrary government, and enlarging its Boundaries so as to render it at once an example and fit instrument for introducing the same absolute rule into these Colonies:
For taking away our Charters, abolishing our most valuable Laws, and altering fundamentally the Forms of our Governments:
For suspending our own Legislatures, and declaring themselves invested with power to legislate for us in all cases whatsoever.
He has abdicated Government here, by declaring us out of his Protection and waging War against us.
He has plundered our seas, ravaged our Coasts, burnt our towns, and destroyed the lives of our people.
He is at this time transporting large Armies of foreign Mercenaries to compleat the works of death, desolation and tyranny, already begun with circumstances of Cruelty & perfidy scarcely paralleled in the most barbarous ages, and totally unworthy the Head of a civilized nation.
He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to become the executioners of their friends and Brethren, or to fall themselves by their Hands.
He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our frontiers, the merciless Indian Savages, whose known rule of warfare, is an undistinguished destruction of all ages, sexes and conditions.
In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions have been answered only by repeated injury. A Prince whose character is thus marked by every act which may define a Tyrant, is unfit to be the ruler of a free people.
Nor have We been wanting in attentions to our Brittish brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which, would inevitably interrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. We must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, Enemies in War, in Peace Friends.
We, therefore, the Representatives of the united States of America, in General Congress, Assembled, appealing to the Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these United Colonies are, and of Right ought to be Free and Independent States; that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved; and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do. And for the support of this Declaration, with a firm reliance on the protection of divine Providence, we mutually pledge to each other our Lives, our Fortunes and our sacred Honor.
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https://www.mainstagecommunitytheatre.org/
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en
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Main Stage Community Theatre
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2024-06-05T00:00:00
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Amazing lineup of local performances ranging from youth and adult theatre, dance troupes, music concerts, and regional acts. The artistic heartbeat of our surrounding community is truly reflected through our high quality theatrical productions and educational outreach programs in Bluffton and Hilton
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en
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https://images.squarespace-cdn.com/content/v1/5f4c50f4f1f9626067f89829/1602189264337-85L6IFEO8P6HRCZOH2S3/favicon.ico?format=100w
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Main Stage Community Theatre
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https://www.mainstagecommunitytheatre.org
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Calling all aspiring actors - We’re excited to announce auditions for our upcoming production of Jekyll & Hyde, the Musical! Set to take the stage this September at Seahawk Cultural Center, Hilton Head High School, this thrilling musical promises to captivate audiences with its unforgettable characters and powerful songs.
The Lowcountry’s best and brightest come out to shine for a good cause as 11 local celebrities will be taking the stage for Dancing With the Stars 2024 at Seaquins Ballroom in Bluffton, SC.
Calling all aspiring actors - We’re thrilled to announce auditions for our upcoming production of Oliver! Set to grace the stage this June in Hilton Head, this award-winning musical promises to captivate audiences with its unforgettable characters and timeless songs. Click through for complete audition information.
JULY 8-12 & JULY 15-19 - Theatre Broadway Summer Camp - Join us for one or two weeks of musical theatre training. Each week will be filled with amazing classes taught by a professional staff of working artists from New York City, along with virtual lessons and Q&A sessions with current Broadway stars!
We are pleased to announce auditions for the Spring 2024 production of "Our Town!" Join us in bringing Thornton Wilder's classic to life on our stage. This Pulitzer Prize-winning play explores the beauty of everyday life and the connections that bind us. Whether you're a seasoned actor or new to community theatre, we invite you to audition.
Main Stage Community Theatre is thrilled to announce a new partnership with Sea Glass Stage Company! This collaboration is a total win-win and further helps our arts community to bring even more opportunities for creativity and diversity. The three-year partnership includes providing space for multiple MSCT shows at Coligny Theatre.
Under the mentorship of Michelle McElroy-Cox who is Hilton Head Christian Academy’s Theater Director and a frequent MSCT Director, Millie Gilbreath and Emma Kate Dalzell are two high school students that have taken on the challenge of being co-directors for the musical as part of a very special school project.
During the 2023 Football season, WHHI-TV's Community Leader Award is presented to someone within the local community who has demonstrated outstanding leadership efforts. As the award presenter, Main Stage Community Theatre will be hand-selecting one worthy organization or individual to honor each week.
Now auditioning! Get ready to be spellbound this November as Main Stage Community Theatre proudly presents its magical production of Into The Woods, Jr. This show is directed by Amelia Gilbreath and Emma Kate Dalzell with mentorship from Michelle McElroy Cox. All actors interested in this production must be between ages 9 and 18 years of age.
Now auditioning for The Wedding Singer! April 26th and 27th. Please prepare a brief comedic monologue and 1 minute of a song of your choice to sing with a backup track you bring, OR acapella. Also, be prepared with the dance combination we provide. Read through for complete audition details.
Community theatre is an incredible opportunity for local youth to explore their creative talents, build confidence, and develop important life skills. Main Stage Community Theatre believes that every young person should have the chance to experience the joy and fulfillment of performing arts.
Auditions will be held Wednesday, December 14 6pm - 8pm, and Thursday, December 15 6pm - 8pm. Performances dates are March 3,4,5 at The Seahawk Cultural Center at Hilton Head Island High School.
Main Stage Community Theatre invites you to audition for Neil Simon’s hilarious classic, The Odd Couple. Directed by Ron Ruckle. Casting 6 men and 2 women - 18+. Show dates are the weekends of Feb. 17th, 18th, and 19th and Feb. 24th, 25th, and 26th.
We are pleased to announce the cast of Footloose- The Musical, taking the stage in Hilton Head on November 11-13 & 18-20, 2022. Full of high-energy dancing and singing, this is a show you don’t want to miss! Bursting to life with music, romance, and dance.
We are pleased to announce the 2022 cast of The Sound of Music! Show dates are June 24-26, and July 1-3, 2022. Join the family Von Trapp in the true-life telling of one of history’s most thrilling and inspirational stories. Featuring the Tony, Grammy and Academy Award-winning Best Score, including “My Favorite Things,” “Do-Re-Mi,” “Climb Ev’ry Mountain,” and more!
The Island Packet’s “Best of Awards” are back, and we need your support. Nominate the Main Stage Community Theatre as “Best Live Theatre” by going to https://www.votelowcountry.com. After you fill out the information, go under category for "Things to Do", and select "Live Theatre". With your help, we’re hoping to receive the 2022 distinguished award for Best Live Theatre in the Lowcountry!
Help keep the hills alive with “the sound of music” this Spring! The Main Stage Community Theatre is casting a variety of roles of all ages, actors, dancers, and singers for another amazing production. Schedule an in-person audition for The Sound of Music on stage this May.
MARCH 11 - 13, 2022, TICKETS ON SALE NOW - Join us for dinner and the hilariously popular, off-Broadway performance of, “I love you. You’re perfect. Now change.” Following the highs and lows of first dates, first loves, marriages, babies, in-laws, and growing old together, this hilarious and poignant show pays tribute to those who have loved and lost and to those who have dared to ask someone out on a date.
Birdies for Charity is a fast, easy and fun way to donate to Main Stage Community Theatre. 100% of your donation goes directly to support the theatre. Heritage Classic Foundation will contribute an extra 10% on top of your donation. It’s like a walk-a-thon, but instead of donating per mile, participants either make a pledge for every birdie made during the tournament or make a flat donation.
Local Community Theatre is here to stay! Some claim that the theatre and the art of performance is dying, but we could not disagree more. There are many ways in which local Lowcountry community theatre is important, ranging from furthering education to self-expression, introducing change, and so much more. Read on for 5 reasons we think community theatre is so important.
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https://www.housebeautiful.com/design-inspiration/house-tours/a37825199/oliver-thornton-tribeca-apartment/
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en
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Oliver Thornton Brings a Taste of London's Art Deco Hotels to a Tribeca Apartment for His Design Debut
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""
] | null |
[
"Monica Mercuri"
] |
2021-10-14T14:13:47.478108-04:00
|
He transforms an architecturally sparse NYC apartment into a lavish British abode inspired by London's Art Deco hotels.
|
en
|
/_assets/design-tokens/housebeautiful/static/images/favicon.127a4ad.ico
|
House Beautiful
|
https://www.housebeautiful.com/design-inspiration/house-tours/a37825199/oliver-thornton-tribeca-apartment/
|
British designer Oliver Thornton approaches his design projects like a set designer approaches a theatrical performance: to create a fantasy of a world that's not of our own. The London-based designer worked as a theater actor for more than seventeen years, starring in musicals like Les Miserables, Priscilla Queen Of The Desert, Phantom Of The Opera, and The Rocky Horror Show in London's West End as well as across the U.K. and U.S. After flipping homes and helping friends with their design projects to supplement acting, he discovered that the two careers complimented one another quite harmoniously.
"All those years that I had spent working on the stage, I built up this way of creating a narrative for projects," Thornton explains. "Without realizing it, I came to a place where I treat a project almost like I would a performance on stage."
This charming 700 sq. ft. one-bedroom apartment in Tribeca, N.Y. marks the launch of Thornton's design studio, Oliver Thornton Home, which will undertake projects in both New York and London. For his studio's debut, he transformed an architecturally sparse NYC apartment into a lavish abode inspired by stays at London's renowned Art Deco hotels.
Thornton begins his design process by envisioning his client as an "aristocratic version of themselves," he says. He derives inspiration from Art Deco, the style that swept across America and Europe during the 1920s and 30s.
"I thought it would be fun to think about my client as a British gentleman during the 1930’s who had a pied a terre in New York, and he had a lot of furniture and references to things he would have seen back home," Thornton muses.
His client, a frequent traveler, utilized the space as a resting place in between trips, so Thornton crafted a serene environment that would encourage his client to come home. "I wanted to come up with a design that means when he returns to the city, it feels like home and allows him to live in the space in a way that’s much more significant."
Kitchen
Influenced by Art Deco's geometric and bold lines, Thornton designed a floating shelf unit from Tri-Lox in the galley-style kitchen using reeded glass―a motif repeated throughout the apartment. He wanted the kitchen to seamlessly flow into the living room rather than treating the rooms like separate areas. An antique runner brings warmth and character into the condensed area.
"I think lots of people are scared of using rugs in kitchens," Thornton says, "but if you get something that can be easily cleaned or have a heavy pattern it doesn't show marks that easily." This rug from Upstate Rug Supply is an ideal choice, he notes, because of the material's longevity and durability. "It [the rug] has been around 100 years and it will be around for another 100 years. In fact, it will improve from wear and tear."
Living Room
Thornton effortlessly blends the Art Deco aspects of the kitchen into the living room with the use of linear shapes, horizontal details and trims, and elegant brass accents. For a masculine touch, he used brass wall sconces with a solid shade from Visual Comfort. The 1830s British oak drum table compliments the myriad of European antiques placed meticulously across the room. "It was this idea that this kind of gentleman had travelled the world and picked up antiques along the way and then brought them to America, so there was a very sort of European feeling within the apartment," he says.
For the sofa, he used a two-toned customizable sleeper sofa from Roger + Chris. He lucked out with an art piece by one of his favorite British artists, Luke Edward Hall. "He had an exhibition in a gallery in Berlin, so I feverishly called up the gallery and said 'please if there's anything that isn't sold, will you let us know,' and we managed to secure this one piece!"
Bedroom
Antique sports memorabilia is layered throughout the bedroom, giving it the feel of a mix between a British sporting room and a library. Jewel tones and accents of tartan and leather invite comfort. The artwork and keepsakes all nod to vintage sport: the wall painting by Bruce Sargeant features a gentleman holding a medicine ball, there are antique oars from the 1930s, and on the dresser lies a black and white photograph of a football player in the 1920s.
"I wanted to create that idea of a British sporting room," he explains. "We used plaids and velvets and lots of leather in this room. The room was really sort of dark and sexy and definitely somewhere where you would want to go cuddle up."
Bathroom
This elegant space was influenced by Thornton's admiration for the Deco bathrooms found in the historic Claridge's and Savoy hotels. Thornton selected Morris & Co.'s Fruit wallpaper—a timeless design with motifs of fruit and leafs—to contrast the neutral palette of the living room. Like the antique runner, he gravitated toward using material that ages gracefully overtime. "As the wallpaper fades and maybe darkens in its corners―that's actually part of the thing that I love when you go to those old English houses and they have original papers from the 30s," he says.
For the light fixtures, he chose a pair of classic wall sconces from Limehouse Lamp Company. On the wall is a lovely herringbone tile, while the floors display a modern Carrara marble. I wanted the apartment, as you went through, to have a bit of a journey. So from the living room to the bedroom, it got darker and deeper. In the bathroom was where we went into a pattern, so as you travel through the apartment, there's a journey with how brave the walls get."
Additional Credits:
Contractor: DV Contracting Inc
Workroom: Fernando’s Upholstery and Design
Framer: ROOQ Tribeca
Cushions: Ancient Tartan by
Brass faucet: Barber Wilson
Plaid: Shetland Plaid in Heather by
Vintage sporting goods: Manfred Schotten Antiques
|
||||
6669
|
dbpedia
|
1
| 15
|
https://coloradocommunitymedia.com/2023/10/02/the-art-of-horror-artists-share-their-frightful-creations-at-colorado-festival-of-horror/
|
en
|
The art of horror: Artists share their frightful creations at Colorado Festival of Horror
|
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[] |
[
""
] | null |
[
"Haley Lena"
] |
2023-10-02T00:00:00
|
Whether it’s putting a personalized spin on a classic character or creating brand-new monsters and ghouls, artists in the horror genre find endless possibilities when it comes to their artwork and how they choose to express themselves. “The genre of horror is the most expansive,” said Xander Smith, a concept artist in the entertainment industry. […]
|
en
|
Lone Tree Voice
|
https://coloradocommunitymedia.com/2023/10/02/the-art-of-horror-artists-share-their-frightful-creations-at-colorado-festival-of-horror/
|
Whether it’s putting a personalized spin on a classic character or creating brand-new monsters and ghouls, artists in the horror genre find endless possibilities when it comes to their artwork and how they choose to express themselves.
“The genre of horror is the most expansive,” said Xander Smith, a concept artist in the entertainment industry. “You can do anything with it… you can go to the deepest depths of the human psyche.”
Among his many titles, Smith is also a digital sculptor and 3D modeler, where he has worked on shows like “American Horror Story” and “Scream Queens” as well as blockbuster movies like “Godzilla vs. Kong.”
Smith was one of dozens of artists state and nationwide who joined local artists at the Colorado Festival of Horror in Lone Tree from Sept. 15 to 17 to share their love for art and horror.
Many of these artists were inspired by a memory of their childhood that they had with a family member either watching horror and sci-fi movies, reading comic books or looking at magazines.
Sources of inspiration
Creator and artist Barry McClain said he was drawn into horror because of his mom, and he couldn’t be more grateful.
While growing up, McClain’s mom used to tell him about the makeup in horror movies, like when an actor would bite on a blood bag to make blood come out their mouth. She also read Fangoria Magazine on a regular basis.
”I used to look through this Fangoria Magazine all the time and I was just enamored with all the blood and guts,” McClain said.
Along with reading various horror comics and watching “Tales from the Crypt,” McClain started to draw monsters.
As an adult, McClain now draws horror posters and works for Troma Entertainment.
Part of his drawing process includes watching horror movies and using the references as accuracy to inspire his own work, McClain starts by drawing with pencil and ink before scanning it onto the computer, where he then colors it in on Photoshop.
Although he does artwork for the sci-fi and action-adventure genres, McClain said that the horror genre is his favorite because it’s more fun and also, the subject matter, storytelling and messaging is so broad.
It may be hard to believe, but there are always positive messages in horror movies, he added. These types of movies tend to involve some kind of comeuppance and stories often teach moral values, which is what gravitates McClain to the genre.
McClain has reflected that in his own comic book, “Billy the Kit.” It’s a horror Western story about faith and how the main character’s world is bigger than what his “bubble of faith” is, which he learns as he gains his power.
Additionally, McClain likes to teach other artists how to market themselves. He said it’s not about marketing sexuality or race, it’s about entertainment.
“I want to be seen as an artist, not a Black artist,” McClain said.
For Joe Oliver, an artist in Littleton, creating horror-themed pieces is cathodic to express and speaks to primal instincts.
“I think it’s the most honest expression of emotions that connects with people,”Oliver said. “Everything can be horror and I think a lot of the time because we’ve experienced sadness and horror, it allows us to appreciate the good as well.”
In addition to doing artwork for comic books, Oliver has also worked for Fangoria Magazine, Alamo Drafthouse and Macaulay Culkin.
He said the easiest way to create something unique is to create stuff you want to see. Using pencil, pen and digital, Oliver creates everything from cartoon to graphic images and uses different effects to express those pieces.
“I love different techniques and I try to do different styles based on what I’m feeling and how best to express that idea,” Oliver said.
Dee Nurmi of DC Custom Creations LLC uses glow-in-the-dark paint to add a playful yet haunting effect to her paintings.
Painting characters from “The Nightmare Before Christmas” and “Courage the Cowardly Dog,” Numri said she is a cartoonist at heart and has always had her own weird style.
“I’m able to kind of translate that into my pictures and warp some things to make them look a little bit different, or more dynamic, interesting or scary,” she said.
Although she didn’t start showing her art until last year, Numri said she has found the most supportive and amazing friends in the horror community.
Different forms of art
From scriptwriting to video editing, from costume design to building a prop, art is in every aspect of the horror genre.
Daniel Crosier, mixed media artist and co-founder of Colorado Festival of Horrors said whether it’s traditional sketching or digital art, there will be people who love it and people who are put off by it.
After using 3D programming to create costumes and props with the costume department for “American Horror Story,” Xander Smith is currently working with Artificial Intelligence.
“Even though the market is flooded with machine-made imagery, humans tend to value it less,” Smith said.
As a professional artist with experience in Hollywood, Smith said that he is seeing a lot of support for traditional artists, however, only time will tell.
While thinking about what to draw in front of a room full of people, Smith was inspired by the fashion design as it is often difficult to combine creepy and elegant.
Smith was not the only artist who likes to dabble with fashion, Colleen Cole uses her artistic talent to create costumes and clothing items, specifically hand-sewn skirts with pockets.
She combines her love for horror and sewing by making made-to-order skirts with designs found online, including a glow-in-the-dark fang design.
Cole is also the owner of Commanding Cosplay LLC, a cosplayer, designer and model. She makes her own costumes and does makeup herself and creates amazing images.
“I’ve always enjoyed Halloween,” said Cole. “Making costumes as characters that I either love the aesthetic or the character itself, is a lot of fun for me.”
|
|||||
6669
|
dbpedia
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2
| 17
|
http://theartroomisonline.blogspot.com/2014/04/an-interview-with-john-thornton.html
|
en
|
An Interview with John Thornton
|
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"Taryn Day"
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2014-04-18T07:25:00-07:00
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John Thornton filming the David Stephens show at the Center for Art in Wood (photo credit Willie Williams) John Thornton has a wid...
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http://theartroomisonline.blogspot.com/favicon.ico
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http://theartroomisonline.blogspot.com/2014/04/an-interview-with-john-thornton.html
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John Thornton filming the David Stephens show at the Center for Art in Wood
(photo credit Willie Williams)
John Thornton has a wide range of artistic talents and enthusiasms, and for the past seven years has been concentrating on filmmaking. His many films on Philadelphia area artists provide a fascinating and sympathetic glimpse into their life's work, and have become an essential part of the city's artistic culture. John resists what he calls the "talking head" style of many documentary films, and keeps things lively, concise, inventive, and often very amusing.
In this interview John talks about his various artistic pursuits leading up to filmmaking, explains why he is so attracted to making films about artists, and mentions some of his personal favorites.
TD: What is the easiest way for someone to find your films?
JT: Visit youtube.com/RustyScupperton. If specifically you want my artist film playlists, google
Artists@Philadelphia-No.2 or Artists@Philadelphia-No.1.
TD: Your YouTube videos are on what you call the “Rusty Scupperton” Network. Can you explain how you chose that name?
JT: Back in 2008 when Hillary and Barack were dueling it out for the Republican nomination, I came up with a fictitious alternative candidate. Square jawed Rusty Scupperton, mayor of Scupperton Falls, Ohio, is a brilliant scientist and far more liberal than either Hillary or Barack. His “STR” (soak the rich) tax plan would have really benefited our country if it had been implemented after his election.
Rusty Scupperton poster
TD: Your “Rusty Scupperton Network” has your films on the different subjects of artists and art, philosophical musings, jazz and nature. Is one genre emphasized more than the others?
JT: My major goal over the past almost 7 years has been to document as many of the very talented artists with connections to Philadelphia as I could. It seems like this is an ambition which will take many many years to fulfill and I am enjoying the process immensely.
TD: You’ve led a complex and often shifting artistic life since attending the Pennsylvania Academy of the Fine Arts in the late 70s and early 80s, but began as a math major at the University of North Carolina. As a high school student, were you interested in both math and painting?
JT: I didn’t get interested in art at all until seeing an article in Time Magazine my sophomore year at UNC. There was an article about Wassily Kandinsky and the reproduction of one of his geometric abstractions changed my life. That very day I found a local art store in the Yellow Pages and started doing watercolor and pen geometric abstractions.
TD: What led you to decide to attend PAFA?
JT: I was living in North Carolina after graduating with a math degree doing menial labor and fooling around with art. Since I was a graduate, I figured I was owed a little free art instruction and went to the art building one day with some of my stuff. I saw a man who looked like an artist and asked him if he was a professor and would he look at my stuff. The man was the artist Moe Brooker and turned out to be incredibly encouraging and generous to me. Eventually I asked him about art schools and he told me how much he loved his alma mater, The Pennsylvania Academy in Philadelphia. By the way, one of my favorite movies that I have ever made is about Moe, and I remain deeply grateful to him for playing such an important role in my life.
TD: Upon graduation from PAFA, your work consisted mainly of sensitively rendered, linearly based straight forward portraiture as well as bold, jazzy still lifes with arresting and sometimes funny juxtapositions of odd objects. How long did you continue to work in these two veins, and when did you begin your hauntingly ambiguous narrative paintings?
JT: A lot of artists, once they find their voice, then proceed, for the rest of their lives, to refine that singular vision. I have followed a different pattern, which is a kind of stylistic serial monogamy. I will be very committed to a particular creative approach for about seven years but when it feels played out, I will make an abrupt change.
Portrait of Nancy oil on canvas 1979
Still life with Guitar and Artist’s Mannequin oil on canvas 1990
In painting, I went from fairly traditional realism, of which my painting of my future wife Nancy is a good example, to my Cubist inspired still lives, to a series of ironic “crime paintings” that were a result of the very scary life altering experience of Nancy and I being held up by men with a gun. We were living in Philadelphia in the 80’s and 90’s and first our car was stolen, then our house was burglarized and finally we were held up. After that, I wanted to start painting about human life. The abstract design approach of my Cubist still lives seemed less important to me.
Give it Up! 1994
I must say these “crime paintings” were meant to be somewhat humorous and ironic. Often I played the part of both victim and perpetrator. Even the scale was meant to be non-heroic. I was thinking about Tom Stoppard’s great play, “Rosencrantz and Guildenstern Are Dead”. My characters are cowardly, sometimes creepy nebbishes.There is one painting where a middle aged man is caught attempting sex on the lawn of Mount Vernon and being jeered at by tourists. I am the creep and also one of those mocking him.
Incident at Mount Vernon oil on canvas 1994
Working Out oil on canvas 1994
Then I switched from painting altogether and created custom software for my own exclusive use. This software allowed me to make digital animations and abstractions that I think Kandinsky himself might even have found interesting.
This was after years of painting the “crime paintings”. I was visiting my twin brother in Western Pennsylvania and we were playing water volley ball. We both went up for a shot and collided and I got an extremely bruised rib that put painting out of the question for a month. I had been fooling around with computer programming at the school where I taught and decided to use my recovery time to explore making art with code. It turned out to re-awaken my love of mathematical reasoning which had been dormant for years. I became obsessed and did this code writing for about 7 years pretty much getting away from painting.
Lingo Print #78 digital image 2002
JS Print #47 digital image 2014
Next I did a series of digital images, the "Art History Insertions” in which I Photoshopped myself into old mostly mediocre paintings from previous centuries and a series of satiric posters based on the Bible.
The Artist with his Wet Nurse 2005
Judgement Confounded by Beauty digital image 2005
Bible Studier’s Digest: The Lineage of Judah digital image 2006
TD: When did you first begin making films and posting them online? Did you have a favorite subject in the beginning?
JT: About 7 years ago, my friend the wonderful artist Fred Danziger came in to the school where we were both teaching and showed me a little movie he made and put on YouTube. “How did you do that?”, I asked. “There’s a free program that you probably have on your computer, Windows Moviemaker. It’s easy, you can figure it out”, Fred replied. And I did. My early movies are really awful but I kept at it, took a course to learn how to edit in Final Cut, and hopefully have improved with time. By the way, I am not feeling the 7 year urge to switch, I think that filmmaking will be my thing for the duration.
My early films were often quite silly and I fooled around with playing different characters. I had a female character named Libby Ellen Spooner who was a very earnest Sorbonne educated intellectual who was quite liberal. Then there was a right wing Southern redneck named Jimmy Boogar who thought he was irresistible to women. They debate Gay marriage in one of my early, flawed movies.
TD: Did you start out watching other films on art and artists online?
JT: Not really. At first I just had so many friends whose work I admired and I thought it would be fun to talk to them and showcase their work. Making films about artists seemed ideal because having been an artist for so long, I understood what the artistic process is like and also the issuers of the creative life, things like money, rejection, reputation, and meaning that artists have to grapple with.
TD: How do you choose an artist for the subject of a film?
JT: At first I would just call up friends or go to their gallery openings. Eventually I got a wonderful patron. Richard Rosenfeld, a wise and very nice man, liked what I was doing and hired me to make movies about the artists that had shows at his Rosenfeld Gallery in Old City Philadelphia. I have been making films for him since September of 2009. Later I got hired to make films for Chris Schmidt of the Schmidt Dean Gallery. I also have made movies for Swarthmore College’s List Gallery, the Center for Art in Wood in Old City, the Maryland Institute College of Art, and the James A. Michener Art Museum in Doylestown. Sometimes artists contact me. And I still contact people whose work I would love to document. A wonderful PAFA alum named Vincent Desiderio had a show at Marlborough Gallery and I contacted him and asked if I could make a movie about him because I feel he is so important. And I ended up spending a lovely afternoon with a terrific painter in one of the best galleries in the world.
And it’s not just visual artists that I am interested in filming. One movie I am planning to work on this summer is about Larry McKenna, one of the world’s leading jazz saxophonists. I met him because he and my wife Nancy taught together at Community College of Philadelphia.
TD: Does anyone ever say no? Does anyone ever seem painfully shy with a camera aimed at them?
JT: There are people who are very shy but amazingly, I have had very few problems. I think artists realize that I am deeply sympathetic. I do not see myself as a critic, I want artists to have the opportunity to explain what they are trying to do. Just as my paintings tend to be executed in a fairly meticulous and rendered manner, I try to use what is known as “Classical editing” in my movies. No jump cuts, I am not very flashy with the camera or graphics. And I pride myself on editing the audio of what artists say to make it as clear as possible. I get rid of verbal tics, “umms, ahhs, you knows, basicallys”, things people say to fill time when they are thinking. The point is that I tell artists to just ramble on and I will make them sound like a college professor. I really try to my best to make them feel relaxed.
One other thing is that I hate movies about art that waste time showing the talking heads. I mostly show the art and speaking is generally in voiceover. The person pops up in my movie like a prairie dog, just long enough so you know who is talking and then back to what I want to look at, the art.
TD: How do you prepare for a film on an artist?
JT: I used to write out questions but I realize they know a lot more about what they think is important than I do. I tend to REALLY like my fellow artists, maybe that comes across. So I just get them to start talking and then react to that. It has taken me a while, but I have finally learned to not interject very frequently, giving people time, eventually the good stuff comes out. One of my favorite recent films is one I did on Vincent Desiderio. At some point Vince he breaks into this very funny and poignant memory of coming into his parents’ bedroom when he was a drunken college student.
TD: Many of your films are really funny, although the ones that feature artists tend to be more serious. Do you sometimes have to tamp down a humorous idea?
JT: Yes. But sometimes I can’t help myself. In my movie about Vince, I actually ended up parodying that really funny poignant story he told. I try not to censor myself too much.
TD: Which is the more attractive scenario for you, to make a film about a relatively unknown but deserving artist, or to be able to meet and interview an artist you are fascinated by, but who is widely known?
JT: One of the great things about making these films is seeing such a huge variety of artistic approaches. I think I have always been pretty open minded about art and love looking at good art regardless of style. Reputation means less to me than the quality of the work and the two are not the same thing. I love meeting new artists whose work is good and whether they are “famous” or not is immaterial.
TD: How do you choose the music? Have you run into issues with getting the proper permissions?
JT: That is something that I am really struggling with right now. I have a big iTunes library of all sorts of music that I love to use in my films, most of which is copyrighted. YouTube catches any use of copyrighted music through their Content ID system. There is a bit of a wink and nod about YouTubers doing this. What happens usually is the music is allowed to stay and YouTube puts ads at the bottom of the screen. Since the viewer can easily close these ads and because I know I am using somebody’s music in my movie, I don’t mind these ads at all. But, increasingly, these movies with copyrighted music will only play on computers, not mobile devices like phones and iPads. And there is always the chance the movie will be taken down altogether. The worst case scenario is that I could lose my YouTube account altogether. But sometimes certain music seems so perfect I take the risk. In my movie about Vince I use Radiohead and I can’t imaging my movie without that music in it.
I have hired musicians and paid for music and used this for instance in the films I did for Michener because I don’t want them being connected to copyright problems. But because even when I am paid for my movies it’s not very much money, I can’t afford to pay a lot. I really envy painter/ filmmaker David Shevlino because he’s a great musician and can make his own music!
TD: Say you have a couple of hours of film that needs to be edited down to 7 minutes. Do you write some kind of an outline first to help you organize the information?
JT: I have tried both the “carving” and building” approaches to making movies. Recently, I work with the voice recordings first and try to work out the entire story as if it were an audio only production. Sometimes I intercut the artist’s voice with my own telescoping narration. Once the story is laid out this way, I take it into Final Cut Pro X and overlay the imagery. I try to show what the person is talking about. At this point I may space the voices so that it’s not a constant barrage of talking and finally add some music.
Sometimes just using the best soundbites and more music expresses the artist’s vision better. I did a movie in 2011 about a wonderful artist at the Schmidt Dean Gallery, Dean Dass.
I only had a few minutes to talk to him. To my lasting credit I asked him what he listens to when he paints and he told me about Brian Eno’s “Music for Airports”. His couple of soundbites and that music tells the whole story of his lovely work.
TD: Name a few of your films about visual artists that you are especially pleased with.
JT: In addition to the ones already mentioned (Moe Brooker, Vincent Desiderio, Dean Dass) here are a couple:
And here is a new one, in which one of my favorite artists explains his technique of making a landscape with encaustic paint. This is definitely in the “how to” category, a master of an unusual medium. This film is going to be one section of a longer and more in depth look at this wonderful artist.
TD: If someone wants to sample one or two of your humorous films, where should they go?
JT: Here are a couple:
click here to watch
(I love collaborating with my grandkids!)
TD: Your filmmaking venture seems to fit you so well. I think of you as someone who is passionate about the arts, enthusiastic about meeting new artists, open-minded about different approaches to painting and sculpture, and curious about new technology. You are very sociable. Not only all this, but you are so good at intelligently choosing and shaping information to give a lucidly clear impression of your subject. Do you feel that working on your own paintings fits you as well?
JT: I have pretty much made the switch from painting to filmmaking. So many people, especially in the early days of my making movies, told me I was nuts but I just love what I do now. For me filmmaking is like collage, you have all these elements, moving pictures, stills, voices, music, text and titles that you have to arrange into something meaningful. It involves writing, filming, photography, editing, and is endlessly fascinating. I cannot imagine ever getting tired of this. And unlike painting which is extremely solitary except for maybe an art opening every three years or so, the filming part is very social. I have met hundreds of people and been introduced to all sorts of wonderful art because of filmmaking. And I don’t worry about being the next Fellini, I hope that I am improving but I do what I do because of the pleasure and challenge I get from the process.
TD: Do you still paint and draw?
JT: Not for a while now.
TD: I have a theory that probably most artists share, that you need to have a pretty healthy ego to make it as an artist. What is it like for your ego, for an artist like you to put your focus on other artists? Your films are works of art in themselves, of course, but what is this experience like?
JT: I do see making my movies as a creative act. I used to experience tons of jealousy and envy when I was a painter. That has gone away. I don’t know a lot of other people who concentrate on making movies about artists, but there is one young guy named Frank Weiss who is very very good. His movies are beautifully made and you can see some on the ArtC website http://www.artcnow.com . The one advantage I may have is that having been a painter, I have a different understanding of the art life and can bring that to bear when talking to artists.
TD: Do you ever worry about getting to the bottom of the bucket as far as finding new and interesting artists to interview?
JT: Never! I am 61 and will be in the ground long before I finish my series on Philadelphia liked artists. Plus with all the art schools in the area, more artists are emerging every year.
TD: What is a typical day like for you?
JT: Some days I have filming gigs but most days it is:
Wake up/ coffee, oatmeal and Philadelphia Inquirer with Nancy/ go up and edit until lunch/ back up to edit until time to jog/ beer on deck watching the sunset over the wetlands/ dinner with Nancy/ watch TV, read and bed.
TD: What are you working on now, and what do you hope to work on in the coming year?
JT: I have an open ended film about the designer Paul Evans for the Michener Museum, a movie about environmental artist Stacy Levy for Swarthmore, and an upcoming movie about an artist whose opening is the same time as this year’s PAFA Student show, which I am sad I will miss for the first time in years. I want to make a movie eventually about the Academy’s tradition of cast drawing, a profile about jazz master Larry McKenna, and the longer format film about Dale Roberts.
TD: Do you have some favorite documentary films or filmmakers?
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https://lefsetz.com/wordpress/2024/05/10/re-kate-hudson-makes-music/
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Lefsetz Letter » Blog Archive » Re
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2024-05-10T00:00:00
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First of all, kudos for being one of the few people left in our business willing to have an opinion! It’s interesting that we saw the Kate Hudson performance on the Howard Stern show. Althoug…
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Lefsetz Letter
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https://lefsetz.com/wordpress/2024/05/10/re-kate-hudson-makes-music/
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First of all, kudos for being one of the few people left in our business willing to have an opinion! It’s interesting that we saw the Kate Hudson performance on the Howard Stern show. Although I maintain he is still the best to ever sit behind a radio mic, now that he has essentially become accepted as a mainstream celebrity, he has gone from the ultimate example of not giving a sh*t, to often kissing the ass of his fellow celebrity club members. Now to Kate Husdon, the rock star. As an actress, she was good in Almost Famous which I attribute largely to her being quite young and Cameron Crowe doing an excellent job. But because I travel a lot, and refuse to watch good movies on crappy airplane screens, I have had the dubious pleasure of watching some of “Bride Wars” and “How to Lose a Guy in 10 Days”. It would be hard to be more annoying than she was in those films. And now she has to bring that same mediocre acting talent to music. (I can only assume that Chris Robinson feels he dodged a bullet). So for people who are exclaiming that she can sing … yes, perhaps compared to someone who is tone deaf. I have spent a career coaching and producing young singers. There is a real giveaway as to who is imitating a performance, and who is the real thing. Undeveloped singers have what I call “vocal ticks”, little mannerisms they think sound cool but they overuse because they don’t really know what they are doing. Kate Hudson dips the pitch at the end of EVER SINGLE NOTE! Once you realize this, you can’t unhear it. Listen to a great singer like Bonnie Raitt, sometimes when it is emotionally effective, she will dip a note, but it has impact because she only does it sometimes! It is the same thing with all the ridiculous flourishes & melismas you hear on American Idol … did Aretha or Stevie do it, yes, when it counted, not constantly. That is certainly not my only complaint with the superfluous new music from yet another famous person … but it is a start.Thanks again for being willing to call this trifle out.
Steve Postell
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You have truly turned into the old man yelling, “Get off my lawn!” Why you needed to do a hatchet job on this woman’s work is beyond me. The world you live in is one I no longer want to be a part of. Wading through your narcissistic pablum daily is a chore rather than an informative read. Please insert Lefsetz for Hudson in the sentence you wrote,“I mean who gives a crap what Hudson has to say.”
Please take me off your list.
Terry Lowe
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She has 18 million followers on instagram alone. You are getting angrier by the day. Your rants are all over the place. You keep saying nobody cares and you are right Bob nobody cares. Light one up, have a drink or get a prescription for something.
Ron Maiorino
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Well at least she didn’t try to make a movie and a documentary with it.
Brian Martin
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On celebrities or actors doing albums I’d say the end year was 2010.
I signed Hugh Laurie to Warners when I ran Warner Music Entertainment. Hugh is a blues pianist and vocalist and he can really play!
We made a beautiful New Orleans inspired album “Let Them Talk” with Joe Henry, a PBS “Great Performances” special and sold close to 2m copies globally (across that album and the follow up).
But it was a different time.
TV still sold albums. Retail still sold albums.
It was the year YouTube started to really make traction with Spotify hard on its heels. Times were changing.
Many, many labels copied what we’d done with Hugh in subsequent years and almost without exception they failed.
Now I’m indie and running a label doing the modern equivalent. We sign artists with fan bases growing fast on socials. It’s the same thing as I did at WMG, but re-cut for the 2020s. Go where the audience is and amplify.
We do 200m streams a month and 90% of our signings are profitable.
#movewiththetimes
Love your work!
Conrad Withey
CEO
FRTYFVE.com
___________________________________
Benson Boone and Zach Bryan are two recent acts that come to mind that built completely from the ground up, created huge followings, and didn’t have leading hit singles … not saying that’s par for the course these days, but there are a few cases here and there.
Michael Pukownik
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Wait, did you just call her an idiot? Seems a bit harsh, no? Maybe I missed context down the page. I stopped reading right there. Do better, Bob.
Tim Fricke
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YEP AGREE re Kate Hudson.
Holly Knight
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Marvelous!!!!
Sent from Peter Noone
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I like listening to Kate speak. She has that very likable, upbeat quality to her personality. She sounds fun. Like her mom. And her voice was surprisingly good. That girl can really sing.
Howard tried to sound enthusiastic, but her songwriting was nothing. And her cover of Voices Carry was karaoke.
Hope she’s having fun. On to the next.
Paul Gigante
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I love, admire, and respect Howard Stern. The non-stop classic rock worship and drum beat – hilarious coming from any boomer – is over the top. “Billy Corgan has one of the best voices in music.” He said that in a serious manner! And more documentaries about sidemen nobody knows please!
Rob Warden
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Her music has merit. It’s her thing. She told Howard Stern it’s been her thing her whole life but the family machine channeled her into a career that bestowed her a massive following. I see the Black Crowes and Stevie Nicks in her presentation. She’s got a slamming drummer, knows show biz, has 18 million followers on instagram, 260 thousand follows on Spotify. And now Bob Lefsetz bringing her to a whole new audience. All to help feed her family. She’s doing what she can. I respect that.
Kind regards,
Rob Whittaker
P.S. I can hear Taylor Swift saying ‘Kate – this could be the best thing for your career!’
🙂
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You’re right about one thing, we’re all looking for artistry. But are you kidding me? Actors are two dimensional?? Like you have any idea how difficult it is to create a character from the text on the page and bring it to life and make people feel something? Sometimes your thoughts are insightful, and sometimes your head is shoved so far up your own ass its laughable. Please quote me and include me in your ‘mailbag’.
Benjy Dobrin
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Well…you just gave her a bump. There’s no such thing as bad publicity.
Billy Chapin
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Crickets. Right up there with a new Eric Estrada album.
John Brodey
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I haven’t even read your whole post below, but I happened to be up the other night and Kate was on The Tonight Show. Probably like you, my expectations were *very* low, but I was pretty taken aback at her vocal talent. She nailed it! I was somewhat shocked.
I can’t imagine who her audience would be, but it definitely wasn’t the lame performance I was expecting.
Good for her…
John Van Nest
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The Kate Hudson thing is the epitome of modern day, good ol’ USA. Her money and celebrity let her cut to the front of the line. So boring, but round and round we go.
I’ve run a record label (Royal Potato Family) for 15 years. I’ve put out countless amazing, supremely inspired, enduring records. I’ve never looked at all the indicators. I’ve always signed artists and released records by my gut, what I hear, how it makes me feel and my belief that it can bring something sustinent to others. But aside from a small loyal audience, it’s impossible to get any attention or traction – even our distributor doesn’t care. It’s only about numbers and $$. Nobody even listens – people in fancy offices, making lots of money and all they can say is get a TikTok page, get more likes on social media. I have to always be working four or five other jobs – PR, management, consulting, etc. to keep the dream alive. Everyday, wake up, roll the stone back up hill.
I’m sure most people would respond by saying I suck, my artists suck, play the game better, stop whining. Release something that masses want and the masses will come. Fair enough. I get it. We’re not entitled to anything. Live by the sword, die by the sword. We’ll keep pushing. That small community of people who care will be enough. There are some brilliant artists, with pure artistic expression, who still break through. But it’s getting tougher everyday. I can’t help but think collectively we’d be doing a little better if quality mattered as much as the fastest path to money. I’m not sure how much longer those of us who embrace that notion can financially sustain without more reach. Never mind the mental health aspect. Speaking for myself, I’ll keep going. Maybe I completely burn out and have to take a job as a barista. At least I went for it.
I’m not even sure what point I’m trying to make anymore other than there are still some of us out here for whom artists who’ve toiled over their craft, write songs that speak to our human condition, get in a room together and create music that vibrates with both the trials and beauty of life, is everything. We put on records and we feel better for 22 minutes. It makes the world a richer, more vibrant place and is a bridge for soulful people with open hearts in their day to day lives.
This leads me back to Kate Hudson. She has every right to make a record and put her artistic vision into the world. But it’s the access, the dumb f*cking corporate hacks who care about nothing but money and celebrity, who amplify her at the expense of those way more compelling who should be getting that opportunity. Again, I get it. It’s the way of the world, nothing my bitching is gonna do to change it. But it’s heartbreaking.
Listen to this Chris Kasper record we put out today. If it was 1973, it might stand a chance.
Kevin Calabro
Royal Potato Family
PS – I was Chris Robinson’s publicist for five years.
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I don’t know Bob. I think you might have missed the boat here. I stumbled across Kate’s performance on Howard’s show on social media and heard an amazing performance of one of my favorite songs from the 80’s. I thought she took on a tough song to sing live and absolutely owned it! Moreover, she seemed to be really enjoying the moment and obviously loves to sing. So she’s happy, and I’m happy to have heard it. Isn’t that how music is supposed to work? What’s wrong with that??
Neil Barry
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You’re burying the lead here. The fault, dear Brutus, lies not in Kate Hudson…but Howard putting her on?? Baba-boring. (Love Howard still but…oof).
Kevin Berntson
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I’ve got no time for a Kate Hudson album..I’m too busy listening to Rita Wilson deep cuts..The box set of demos is out, on colored vinyl! SO glad I bought that Dolby Atmos setup!
Celebrities get to skip the line at Disneyland..They also get good tables at restaurants, and when you’re famous you can just walk up and grab em’ by the pussy..
And they get some oxygen for their vanity projects..Music, children’s books, cook books, charities, and other such claptrap..It counts as content on the daytime TV talk circuit..Are there even any housewives/stay at home moms that watch network/syndicated TV? Maybe some rest home residents? Do they consume new music?
I’d conjecture that the audience for a Kate Hudson album overlaps with the people who listen to Dr. Phil’s WIFE’S podcast..(Not making that sh*t up!) (Of course, rock stars hawking their paintings isn’t “cringe”.)
I can’t believe Stern allowed this..His musical guests have always been top-notch.. Someone called in their last favor.. Hudson’s exes (Chris Robinson, Matt Bellamy) wisely refuse to indulge their wife in her fantasy..I’d have been LIVID seeing a Muse featuring Kate Hudson video!
Some stars WERE so hot, a single WAS a way to capitalize..David Soul, Jack Wagner, Patrick Swayze, John Travolta, Eddie Murphy,etc..But Jeff Bridges, Juliet Lewis, Kevin Bacon, Keanu, Steven Segal, Kevin Costner, Billy Bob Thornton,etc., etc.? Of course, they can play the fly-over circuit, and people will come, just to say they saw a celebrity..
The Ryan Gosling movie? I had to look it up You can’t open a summer with a non sequel/superhero flick! Warner Bros lost $200 million on the “Suicide Squad” video game..The manosphere is claiming it was “too woke”..
The #1 Repugnantc*nt talking point, from Kelly Ann Conway to Joe Facebook to Kid Rock is now, “Well Trump didn’t start any NEW wars.” To be blurted out, when asked “tough” questions..
Huh? He continued the war he RAN on stopping..It’s like a fireman who brags about not starting any NEW fires..(While failing to put out the one he was hired to.) THAT’S their silver bullet? They’re peacenicks now?
What’s next? The Biden Tornado Cabal? “I caint recall Trump having sew mini tornadys! And why come we never sea nary nun of them twisters in the blew states?”
P.S. Letterman and Petty laughing about Jennifer Love Hewitt’s tour, on national TV was hilarious! She was still in the green room!
James Spencer
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https://www.theguardian.com/tv-and-radio/2021/dec/16/i-turned-11-vials-of-smallpox-into-11-vampires-warwick-thornton-on-his-wacky-anti-colonial-series-firebite
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en
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‘I turned 11 vials of smallpox into 11 vampires’: Warwick Thornton on his ‘wacky’ anti-colonial series Firebite
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2021-12-16T00:00:00
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The director channelled his fury about the first fleet into a ‘fun’ Indigenous revenge tale that reinvents the vampire genre for the Australian outback
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en
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the Guardian
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https://www.theguardian.com/tv-and-radio/2021/dec/16/i-turned-11-vials-of-smallpox-into-11-vampires-warwick-thornton-on-his-wacky-anti-colonial-series-firebite
|
Sunrise across the Australian desert. Headlights blazing, a silver Mack truck accelerates towards its destination, kicking up a trail of dust in its wake. In the driver’s seat is Jalingbirri, a “blood hunter” – the only one of his kind left standing. For years, Jalingbirri has defended his people against the monsters the first fleet deliberately unleashed. Now he has a date with a vampire king.
The truck, driven by an implacable Kelton Pell, sets the tone in the first few minutes of Firebite, Warwick Thornton and Brendan Fletcher’s hotly anticipated TV series for streaming service AMC+. Named for the bite that converts a mortal person into an immortal monster, the show reinvents the vampire genre for the Australian outback.
Starring Rob Collins (Total Control, The Drover’s Wife) and Shantae Barnes-Cowan (Total Control, Wyrmwood: Apocalypse), Firebite was born when Thornton learned how members of the first fleet transported vials of smallpox onboard their ships. His anger at that felt consuming, and it was something he wanted Australians to know – except he didn’t want to share it in the style of the “gut-wrenching, important pieces of storytelling” he had become famous for in films such as Sweet Country and Samson & Delilah.
“I was a bit tired of making films like that so I turned the 11 vials of smallpox into 11 vampires that the British brought over to wipe us out,” says Thornton, who wears many hats on Firebite, including executive producer, co-creator, director, co-writer and director of photography.
The show, fuelled by a team of First Nations creatives, kicks off when the last surviving vampire from the original 11 arrives in the remote mining town of Opal City, where an abandoned warren of mines lie beneath the surface. The 270-year-old vampire king, played by a cold-eyed Callan Mulvey, is determined to expand the only remaining vampire colony and bring the bloodsuckers out from their underground hiding place.
Standing between him and his goal is an unlikely duo – Tyson (Collins), a charming yet reckless failed blood hunter, and his 17-year-old adopted daughter Shanika (Barnes-Cowan), a badass who absorbs all Tyson’s lessons on how to capture and kill the “pests” around them.
While sequences were shot on location at Coober Pedy in South Australia, Amy Baker, the show’s head of production design, reconstructed the unique area inside Adelaide Studios, creating an elaborate network of tunnels where that distinctive white soil (trucked in from Coober Pedy) crunches under your feet.
Coober Pedy’s lifestyle and landscape seemed to Thornton one that would give any vampire a great cover story – “You portray yourself as miner, so you’re down in the mine all day, and then you come up to the pub and you drink all night, and that’s kind of what vampires do. They sleep all day in the mines and then come up and feed all night in the pub.”
Baker also created a wall of skulls (note the fangs) inspired by Europe’s catacombs, as well as cave paintings depicting the history of vampires in Australia and a lair with a throne of bones.
One room offers unrivalled insight into the world of Firebite. A secret door opens into Jalingbirri’s hidden lair in the Mack truck. Inside, a wall is dominated by the hunter’s collection of weapons, including the chopstick machine gun that spits out lethal little stakes, flashbangs that deliver a blinding dose of “daylight” and an assortment of boomerangs, sharp and perfect for killing vampires.
“Boomerangs are an alien concept to many people and I’m really excited that the extended world gets to just see a person who is using one as a warrior in a contemporary context,” Baker says.
It’s a reflection of Thornton’s determination to not create another Mad Max or Burning Man-esque production. “We wanted to keep everything grounded in this wacky, fantastic reality,” he says.
Opposite the weapons is a wall of missing people – potential “bleeders” being kept alive by vampires to be slowly drained for food. Rather than police posters, Baker chose to use detailed sketches and photographs (cheerfully donated by their sound designer and Thornton’s family) to represent the victims, underscoring that Jalingbirri is working with the communities to find their loved ones. Something, it’s implied, the authorities don’t care enough to do.
The whole thing, Baker notes, is “very Warwick”.
Unlike Sweet Country, which used no music, on Firebite Thornton opted for a pounding original soundtrack that reunited members of the Australian rock band the Drones along with the Dirty Three drummer, Jim White.
“I’ve always loved punk music because it is anger, and anger is energy,” Thornton says. “And there’s a lot of important information coming out of those three-piece bands with long hair. There’s a lot of education about society coming from there as well.”
In keeping with the music, “Let’s just wreck it!” became Thornton’s mantra. “The show is about kicking in the door and turning up the edge … It’s just a fun ride.”
The emotional heart of the show is the relationship between Tyson and Shanika. The latter is one in a long line of complex female characters created by Thornton, who has a predilection for plotlines that confront and subvert the patriarchy. He thinks it’s the inevitable result of growing up with an “Amazonian” mother and sisters.
“It’s subliminal for me, because that’s the way I was taught by powerful women, you know, to respect and love and to disagree and to argue but to be open-minded about all points of view.”
Thornton also recognises himself in the character of Tyson. “Dickheads come in every shade and Tyson’s a dickhead, he’s an idiot,” he says, laughing. “There’s a lot of me in Tyson. There’s a lot of my daughters in Shanika … It feels truthful to me – my role is to embarrass my children as much as possible.”
Though the series is uniquely Australian, its themes, in particular the impact of colonisation on Indigenous communities, feels universal.
Thornton figures someone could do a spin-off in India, Hong Kong or North America and it would work equally well. And though it’s been a crazy year, the film-maker still has more rock’n’roll to give. “I need a couple of weeks to sit in a stall at the pub, and then I’ll be ready to do it again.”
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https://www.culturetype.com/2017/06/03/from-houston-to-richmond-vmfa-hires-curator-valerie-cassel-oliver/
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en
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From Houston to Richmond: VMFA Hires Valerie Cassel Oliver as Modern and Contemporary Art Curator
|
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2017-06-03T00:00:00
|
THE VIRGINIA MUSEUM OF FINE ARTS (VMFA) named Valerie Cassel Oliver its new Sydney and Frances Lewis Family Curator of Modern and Contemporary Art. Recognized for her ability to connec...
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https://www.culturetype.com/wp-content/themes/sight/images/favico.ico
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Culture Type
|
https://www.culturetype.com/2017/06/03/from-houston-to-richmond-vmfa-hires-curator-valerie-cassel-oliver/
|
THE VIRGINIA MUSEUM OF FINE ARTS (VMFA) named Valerie Cassel Oliver its new Sydney and Frances Lewis Family Curator of Modern and Contemporary Art. Recognized for her ability to connect with artists and identify promising emerging figures, Cassel Oliver is expected to invigorate the department, introducing an innovative exhibition program and a broad range of new artistic voices.
Cassel Oliver joins the Richmond museum from the Contemporary Arts Museum Houston where she served for 16 years, rising to senior curator. She starts at VMFA on July 7.
“Valerie is one of the most dynamic and respected contemporary curators in her field. She brings an impressive network of contacts from across the arts community, and she has an established record of organizing exhibitions that explore topical themes that resonate with viewers,” said VMFA Director Alex Nyerges.
“In her new curatorial role at VMFA, she will have the resources to apply her talents in building our museum collections. Based on her previous experience, as well as her curatorial vision, she will undoubtedly push the institution in exciting new directions.”
“Valerie is one of the most dynamic and respected contemporary curators in her field. …Based on her previous experience, as well as her curatorial vision, she will undoubtedly push the institution in exciting new directions.” — VMFA Director Alex Nyerges
PRIORITIZING NEW VOICES
IN ANNOUNCING HER APPOINTMENT, VMFA emphasized its intention to expand its collection with a commitment to improving representation. According to the museum, Cassel Oliver’s “first priority at VMFA will be to review the modern and contemporary art holdings, and develop a collection plan. A primary focus for her acquisition strategy, in line with the museum’s strategic plan, will be to add more works by African American and African-diasporic artists.”
Based on what is currently on view in VMFA’s collection galleries, its sincerity is evident. The 21st century art exhibition features works by Jack Whitten, Thornton Dial, Titus Kaphar, Julie Mehretu, Mickalene Thomas, Trenton Doyle Hancock, and Kehinde Wiley, along with installations by Radcliffe Bailey and Theaster Gates.
Paintings by Beauford Delaney, Jacob Lawrence, and Aaron Douglas appear in the 20th century galleries, along with painted plaster busts by Richmond Barthe of Booker T. Washington and Paul Laurence Dunbar. The museum’s new acquisitions include a major Romare Bearden collage and paintings by Palmer Hayden and Eldzier Cortor. The Hayden and Cortor works are on view.
“Recent, considered acquisitions have positioned VMFA for sustained dialogues in contemporary art. I’m excited to continue that conversation, thinking not only of the current collection and the legacy of these works from a new perspective—a perspective that takes into account my own imprint through new acquisitions and exhibitions,” Cassel Oliver said.
Valerie Cassel Oliver introduces the exhibition “Radical Presence: Black Performance in Contemporary Art.” | Published Aug. 19, 2014
AN ESTABLISHED RECORD
DURING HER LENGTHY TENURE at CAM Houston, Cassel Oliver organized countless group shows and solo exhibitions “that generated greater audience engagement by extending the artist’s reach beyond traditional institutional walls.” Standouts include “Radical Presence: Black Performance in Contemporary Art” (2012). A touring exhibition spanning the 1960s to present, it was billed as the first comprehensive survey of performance art by black visual artists.
“Benjamin Patterson: Born in the State of FLUX/us” (2010) was dedicated to the work of Patterson, the founding member of Fluxus who was a contrabass musician and longtime arts administrator. She also organized “Hand+Made: The Performative Impulse in Art and Craft” (2010), which featured 20 artists, including Nick Cave, Sonya Clark, and Saya Woolfalk. Co-curated with Andrea Barnwell Brownlee, “Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970” (2008) presented work by 40 women artists from Australia, Cuba, Europe, Kenya, South Africa, and the United States.
Recent exhibitions highlight Cassel Oliver’s collaborations and profound connections with contemporary artists. “Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing” (2014) was the first in-depth consideration of the artist’s substantial body of drawings, collages, and works on paper. She also curated “Jennie C. Jones: Compilation” (2015-16), a mid-career survey of 11 years of work by Jones whose practice explores parallels between jazz and visual art. Last year, she presented “Angel Otero: Everything and Nothing” (2016-17), the first survey exhibition of the painter and sculptor.
Previously, she co-curated the Whitney Biennial (2000), and directed the Visiting Artists Program at the School of the Art Institute of Chicago. Early in her career, she administered grants as a program specialist at the National Endowment for the Arts.
A NEW CHAPTER
“THIS VMFA APPOINTMENT is a wonderful opportunity to begin a new chapter in my curatorial career,” Cassel Oliver said.
She continued: “I look forward to working in partnership with Alex, Michael [the museum’s chief curator], and the entire curatorial team to open up the canon to include not just African American and African-diasporic voices, but many different voices.
She said: “There are artists from myriad social and cultural backgrounds who are not fully represented in today’s art world, and we need to ensure their stories are part of the rich narratives we bring to life in our museum. I bring a perspective of inclusivity, and I want to create a context that engages a public that can see itself reflected in the museum. Doing so allows the discussions around art to be broader and only serves to make the entire field stronger.”
“I bring a perspective of inclusivity, and I want to create a context that engages a public that can see itself reflected in the museum. Doing so allows the discussions around art to be broader and only serves to make the entire field stronger.” — Valerie Cassel Oliver
Howardena Pindell is the subject of Cassel Oliver’s first exhibition at VMFA. Co-curated with Naomi Beckwith of the Museum of Contemporary Art in Chicago, “Howardena Pindell: What Remains to be Seen” is the first major survey of the artist’s work. Spanning five decades, the exhibition opens at MCA Chicago Feb. 24, 2018, and will be presented at VMFA in January 2019. CT
TOP IMAGE: Valerie Cassel Oliver. | Photo by David Stover, © Virginia Museum of Fine Arts
BOOKSHELF
Compelling catalogs have accompanied Valerie Cassel Oliver’s recent exhibitions, including “Cinema Remixed and Reloaded: Black Women and the Moving Image Since 1970,” “Radical Presence: Black Performance in Contemporary Art,” and “Jennie C. Jones: Compilation.” Also consider, “Howardena Pindell: Paintings, 1974-1980” was published recently to complement an exhibition at Garth Greenan Gallery in New York.
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https://music.ku.edu/news/article/2024/04/12/ku-host-first-inaugural-steel-pan-festival
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KU to host first inaugural Steel Pan Festival
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Lawrence, KS – The KU School of Music would like to announce the first-ever Steel Pan Festival, hosted by the KU World Steelband, on April 20, 2024, at 4:00 pm. The landmark event is free and open to the public and will be held in room 130 of Murphy Hall.
The festival will showcase an array of performances, including small steel pan ensembles and a "mass steel band" composed of middle school, high school, college students, and community members. Renowned artist Tracy Thornton, esteemed owner and founder of Pan Rocks Studios, will also be featured in the event.
Abou the artist:
Tracy Thornton is a multifaceted talent, recognized as a steelpannist, recording artist, performer, composer, clinician, producer, and drummer/percussionist. With a career spanning over 30 years, Thornton has carved a niche for himself as an innovator in the world of steelpan music.
His global impact extends far beyond performances, as he passionately shares his wealth of knowledge at universities, colleges, public schools, and communities across continents. Thornton's fusion of steelpan music with rock, punk, and heavy metal has garnered acclaim worldwide, with his compositions becoming a staple in steel band performances.
Thornton's illustrious career has seen collaborations with renowned artists and groundbreaking initiatives, from immersive projects in Hollywood to virtual music endeavors during the COVID lockdown. Notably, his contributions have been featured in popular television shows and video games, cementing his status as a trailblazer in the industry.
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https://currentlycaptivated.wordpress.com/tag/oliver-thornton/
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So Currently Captivated
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Posts about Oliver Thornton written by socurrentlycaptivated
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So Currently Captivated
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https://currentlycaptivated.wordpress.com/tag/oliver-thornton/
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I have to confess, I booked my ticket for David Hare’s The Judas Kiss solely for Freddie Fox related reasons, but he certainly didn’t disappoint (Oh man, did he not disappoint *fans face*).
I’ve never been to the Hampstead Theatre before and I did rather like it. I was at the far end of the fourth row of the stalls and it was a very good view. It’s a nice modern venue and it looks like they have some interesting shows in the pipeline so I may well be back again before the year is out.
I though it was an interesting play. I previously knew very little about Oscar Wilde beyond the fact that he was punished harshly for his homosexuality (and obviously that he was a fabulous writer, but that was somewhat irrelevant to the plot). The play was split between two important moments in his life (Note; From here on, this post contains spoilers, although they’re more on the subject of Wilde’s life than specifics of the play). Act one was set in an English hotel room where Oscar debates his situation and ultimately, despite his friend Robbie’s pleas, he listens to Lord Alfred; Bosie, the boy he loves and chooses to stay and fight his case. Several years later, act two finds Wilde in Naples, living with Bosie after having served his prison sentence. Over the course of a day or so, we see the end to their relationship in a rather miserable sort of way.
Freddie has always reminded me of Draco Malfoy (this gets relevant, trust me!), perhaps inevitably, given that he’s so very pale, blond and really rather posh (I adore the way he speaks!). The fact that I’m currently reading a novel length fic in which, so far, Draco has been far more real and in-keeping with his character as JK wrote him (not very nice and horribly prejudiced, still living in his father’s shadow and weighing his every action by Lucius’s standards) seemed to bring the parallel to an extra level. Not that Bosie was prejudiced, at least not in the way Draco is, but he was an arrogant posh boy who cared far more about himself and his own perceived victories (in this case over his father, but hey, give that father the name Harry and we’re talking). He annoyed the hell out of me throughout the first act and it irritated me even further that I knew Oscar would ultimately listen to him and give in. Robbie, by contrast, spoke many of the words I’d have chosen if I’d been in his position, but the fact he was unable to truly make himself heard, or rather, he was heard but ignored, bugged me almost as much as the rest of the characters did. I liked the serving staff though! And Arthur (played by Ben Hardy) did have a very nice arse – which was on full display at the very start of the play ;). Small as their parts were, I liked the comic relief they provided from the more serious aspects of the first act.
Bosie annoyed me far less in the second act, or at least, I much preferred him in the earlier part. Believe it or not, my reasons were not even (entirely :P) based on the fact that he started off completely naked and spent much of the rest of his opening scenes wearing nothing but a sheet tied around his waist, leaving his chest bare and flashing a dangerous amount of leg. In fact I found him really quite distracting (big surprise there, I find him distracting fully dressed!). Of course the tanned, muscled Adonis, Galileo (played by Tom Colley), who didn’t even bother with a sheet… and then made a brief appearance dripping wet, really didn’t help my concentration either (I’m awful, I know, but lusting after pretty, yet completely unattainable boys is such fun…)!
Unfortunately the sexiness couldn’t last and with the return of clothing came the return of Bosie’s more irritating characteristics. He was an arrogant little twerp in the end and he made me rather mad by the time he finally made his departure. He came across as completely self serving and with no real principles save the ones that most suited his cause at that given moment. His cause, however, was not love or honesty or gay rights or anything so noble. His cause was himself and screw anyone who no longer fit with what he felt to be best for him at that specific time. Can you tell he bugged me?! I think it was his ranting and raving about fighting for gay rights – which is very much at the forefront of my mind what with Adam Lambert and Gavin Creel and all – followed not long after by his pronouncement that he wasn’t really one of them, he wasn’t really like that and so on and so forth that really annoyed me. With that final speech he almost seemed worse than the people who condemned Wilde to jail in the first place. (Having flicked through the programme after the fact, it does seem that Lord Alfred was a world class git through most of his life).
Anyhoo, I’m not really sure what to say of my overall opinions. It was a good play, certainly; well acted and well presented. It was enlightening and on an artistic level I could appreciate its greatness. My only criticism really was that the characters bugged me, but then that was evidently how they were written. They weren’t especially nice people, though that was true of some more than others, and they definitely weren’t heroes, but that made them far more real. Personally, I like the fantasy of perfection, whether that be happily ever after, or the perfect tragedy doesn’t matter overly much, but this was real and wonderful as the play was, I can never quite like it as much as I’d have liked a fantasy.
The cast were fabulous though, doing a truly magnificent job of bringing those irritatingly flawed characters to life. Admittedly, I couldn’t quite take Rupert Everett seriously, although that’s almost entirely my own fault. My constant Freddie/Draco comparison, along with the drawl in his tone and the hair style often summoned up images of Professor Snape, whilst the character (and I suppose the knowledge that he once played him in a film) and also the hair, I suppose, reminded me often of Stephen Fry. Mostly, however, I found myself recalling Rupert’s role in St. Trinians (I only saw it last weekend, having had no idea what to expect and was totally bewildered by it), which really wasn’t in-keeping with the character he was supposed to be playing and I found slightly distracting at first. That said, he did a fabulous job and by the second act I’d completely bought into the character. I think there may still have been the occasional Stephen Fry comparison, but I think that’s understandable in the circumstances. Freddie Fox was also fabulous as Bosie (or to give him his full title, Lord Alfred Douglas), no matter how much he made me grind my teeth! He was full of (self-)righteous indignation and shouted speeches, but there was a soft childishness to him that managed to break through every so often that really showcased his talent as an actor. (And he looked very nice naked as well :P). Finally Cal MacAninch played Robbie Ross, full of a quiet passion. Of all the characters in the play, I felt he was the most emotionally entangled with the whole situation. He really cared, more so than Oscar who seemed to make light of everything, and certainly more so than Bosie. In every one of his speeches and movements, he made his underlying feelings clear and I enjoyed the subtlety of that a good deal.
The stage door was a success, granting a full house of autographs and photos with the three leading cast members. Freddie was wearing his hat again, of course, and my delightfully crap back-up camera left me with a faintly blurred photo, but he still looks pretty and I’ve met him before, so I can deal. Rupert was lovely, which was unexpected though I’m not sure why. I suppose I was expecting movie star divaness, but it didn’t happen. There was one professional autograph hunter who I spent most of the wait for the cast disparaging in my head whilst trying to justify why they annoy me so much. They’re not hurting anyone really and I suppose most of them watch the actors they chase in their TV or film careers so it’s not as though they aren’t supporting the performer’s career in some way. Perhaps my dislike stems from the knowledge that there are enough actors now who refuse to do anything because of people like that, but generally it’s not really a problem for me. I always compliment the actors on their performances, so they know that I was there at least (plus I’ll primarily get a programme signed, which generally suggests attendance at the theatre) and it’s rare that there are enough professionals to prevent me from getting what I want in term of autographs and photos, so why do I get so irritated with them?
Anyhoo, I’m actually free next week, as in, I have NOTHING booked… *gasp*, so I have no idea when I’ll next be back. I’ve got a vague intention to try and see Jumpy and/or Hedda Gabbler, plus the hope of day tickets for (finally) the new Rock Of Ages cast a week on Sunday, but I suppose we’ll have to see. I’ll definitely end up at something though. It’s been two years, give or take, since I went a week without a single show and I don’t mean to start breaking that record now!
Peace, loVe loVe and pretty naked blond boys *sigh*,
K xx
PS. I found out today that Oliver Thornton is playing Frank N Furter in next year’s 40th anniversary tour of Rocky Horror. There’s a teaser video on youtube, but I don’t think the news was meant to be announced until next week. After several people located my blog via the search terms ‘Oliver Thornton Rocky Horror’, however, I decided to do a bit of digging, having more than a passing interest in the subject myself (I have one ticket already, but had every intention of purchasing more dependent on casting). It seems that the Priscilla Facebook page leaked the news early and with that in mind, the video does seem to back it up. Of course, I await an official announcement, but it does look as though that may be the case. I’m not actually sure how I feel about it. I could see him as Brad, or even Rocky, but Frank? The idea is certainly growing on me, helped I’m sure by the anticipation of watching him in knickers and suspenders (the video also added to the excitement – lots of shots of toned thighs in fishnet stockings ;)), but initially I must confess I was a little doubtful. I know he can do drag, he was fabulous as Felicia, but he just seems a bit young and pretty to play Frank. He also seems a bit to sweet, in a weird way, even though my second favourite memory of him (the first being that pink sequinned thong *swoon*) was his opening number in Priscilla, complete with leather and whips… I do wish I’d managed to justify seeing him play that role one last time *sigh*. Anyhoo, still can’t wait to find out who the rest of the cast are, but honestly, no matter what my initial reaction was, I can’t wait to see Ollie back on stage.
PPS. Interestingly, or perhaps not very interestingly, but I’m going to say it anyway, the Draco Malfoy in my head when I read fanfic changes depending on what’s going on in my life at any given time. Very occasionally he looks something like Tom Felton, usually after I’ve watched one of the films, and often he’s simply a random blond boy/man that I’ve conjured up with my own imagination. For a long time that image had more than a passing resemblance to Tommy Joe Ratliff and, more recently, during and immediately following my Rock Of Ages marathon, the Draco in my head had more was essentially Dylan Turner with blond hair. Tonight, however, Draco Malfoy is Freddie Fox. Between the character he played in the Judas Kiss and the version of Malfoy in the fic I’m reading, I really can’t see how he could be anyone else!
So today I decided it was about time I finally organised my programmes rather than just continuing to throw them into a haphazard heap under my bed while praying they don’t end up completely destroyed. Once I started, however, I thought it might be fun to flick through some of them and it turns out I’ve seen a lot of people I now adore in some old shows back when they would have meant nothing to me. I doubt anyone is all that interested in this, but I found it quite fascinating, so I thought I’d blog about it anyway. Of course, I have no guarantees that some of these people were even on the night that I went, but still…. I also have the problem of recognising people in old programmes but not knowing what I’ve seen them in more recently. But anyhoo, here goes nothing:
(This will mostly be an annotated list in no particular order as I put this together whilst going through random piles with no ordering whatsoever except that glossy brochures and programmes were separate due to shelf size issues)
So to begin, I was busy drooling over old pictures of Liam as Link Larkin in Hairspray and who did I find? David McMullan, the guy I recognised (well it looked a hell of a lot like him anyway and he had a very ‘musical theatre’ sort of manner!) sitting in my row at the Ladykillers last week! It’s just now occurred to me that the reason I recognised him was because I also saw him in Ragtime at the Landor (which was confirmed on finding that programme which also assisted me with working out that the guy I recognised at something – Jingle Balls, maybe? was Alexander Evans). I somehow missed the fact he was also in the ensemble of Love Never Dies though – this is what happens when Ramin is on the stage :P. I think I’ve already mentioned the fact that Aki Omoshayabi was in it Hairspray, but I thought I’d say it again anyway. Woot, hippies :D.
Speaking of hippies, Holly James was in Starlight Express when I saw it on tour at the New Wimbledon Theatre back in ‘06, with Oliver Thornton as Rusty (wow I wish I remembered that better) and another familiar face; Tim Driesen (from Never Forget).
Speaking of Never Forget, with the new cast though also in Wimbledon… Scott Garnham played Jose and I’ve even got his autograph to prove he was on that night. What I wouldn’t give to see that again now!
Les Mis, 2004, my first two trips and there was another hippie in the cast – Gemma Baird. Apparently Ollie Thornton was also playing Enjolras back then! Wish I remembered that even more than Starlight.
Mark Evans was Brad in Rocky Horror on the last tour but I didn’t know who he was back then :(. It wasn’t even all that long ago, but he was just this gorgeous man to drool over then. I didn’t ‘discover him’, so to speak, until Bobby Cronin’s gig when he completely blew me away.
Stuart Matthew Price was a vocalist at Strictly Gershwin when it first opened.
Alastair Brookshaw (who I saw as Leo Frank in Parade at the Southwark Playhouse) was a vocalist the first time I saw Shoes at Sadler’s Wells. Jared Hageman was also one of the dancers. I’ve seen him in Matthew Bourne’s Dorian Grey, but far more importantly, he was one of Take That’s dancers on the Progress Tour. I think I spotted him on X-Factor too.
Chris Passey as Benjamin in the Joseph tour 2007 at the Birmingham Hippodrome!
I knew this already, but Zoe Birkett, who I loved on Pop Idol 2002 and who should have been playing Dionne on the UK tour of Hair (she’s still playing the role in Munich) was in Respect La Diva and I even got her autograph, despite not realising who she was until the Hair tour was announced!
Burn the Floor starring Brian Fortuna and Ali Bastian apparently also featured Artem Chigvintsev and Robin Windsor, before either joined Strictly. Obviously I didn’t have a clue who they were at the time, but somehow managed to get autographs off both of them anyway, even though I only got signatures from six out of twenty+ dancers (and two of those were the ‘stars’). Shame I didn’t bother with pictures (at least I don’t think I did, I should probably check that)!
Many years ago, well, six, but it feels like longer, I saw a play called As You Desire Me which for some reason really stood out for me and I still remember the story, or at least the gist of it, to this day. Turns out it starred Kristin Scott Thomas and Bob Hoskins. Unfortunately, this pre-dated my regular stage door activity, but it’s still kinda funky. Especially since I never could remember the name of that play and it’s rather useful to have rediscovered the programme.
Even more years ago than that, back in 1994, I went to see Joseph and the Technicolor Dreamcoat at the Palace Theatre, Manchester, for the very first time and I guess my love of musical theatre was probably born around then. I still remember that show so clearly, it’s weird, especially since I’ve seen it a fair few times since then, yet it’s that first performance that’s always stayed with me. Darren Day starred and the theatre trip was the culmination of months of constantly singing the songs. For whatever reason, my parents wouldn’t take me to see it, but then my Grandma treated me when I went to visit her and apparently I beamed throughout the whole show!
And then in 1998, also in Manchester, I saw Oliver starring Gary Wilmot as Fagin. Turns out Michael Cotton was in the cast too. Wonder what I’d have thought back then if I’d known all these years later I’d see him dancing around in the buff in Naked Boys Singing :P. I suspect I’d have been shocked and appalled given I was only about 13 and I was oh so sweet and innocent back then!
Back into the noughties and I went to see Ewan McGregor in Guys and Dolls in 2005. All I really remember was being stuck right up at the back and not getting to see Ewan at the stage door afterwards, but turns out the show also featured a rather young looking Summer Strallen.
One of my bigger ‘ wow, really?!’ moments came when I found the programme for The Pirates of Penzance at the Savoy in 2004. I remember the show and remember being rather excited about Anthony Head playing the Pirate King. What I obviously wouldn’t have been excited about at the time but would so love to see now, was Hadley Fraser as Fredric!
Adam Pearce (who I know from Love Never Dies) was one of the brothers in Joseph when Lee Mead was starring. Stephen John Davis (who I saw as Emile in South Pacific) was Reuben too.
I’ve no idea when I saw Beauty and the Beast, but given that it was on at the Dominion, it must have been a fair few years ago since We Will Rock You has been on there for the past decade. According to the programme it premiered in 1997, so I’d guess at the date being sometime around then. Anyhoo, a quick flick through the programme produced the info that Barry James (Firmin in Phantom) played Cogsworth and Earl Carpenter was in the ensemble!
One particular programme I’ve been looking for for a while, is the Far Pavilions. I don’t think it was much of a success, but I remember enjoying it. Obviously I don’t remember Hadley Fraser in this either, but I’ve known for a while that he was in it so it was kinda nice to finally find the programme and see the picture with my own eyes.
Spamalot starring Tim Curry was an interesting find. Mark Evans was a swing, so there’s a good chance I didn’t see him and Craige Els (Never Forget) was a walking understudy, so I’m almost certain I wouldn’t have seen him either, but Hannah Waddingham was the Lady of the Lake and I’m pretty sure I saw her at least!
I’m loving these old programmes too, the head shots are so dated – all those massive perms on the women and boyband curtains on the men! Anyhoo, another trip to the Manchester Opera House some time around 1996 and Alexis Owen-Hobbs was playing Cha-Cha. (Shane Richie was starring as Danny, but he was off when I went to see it. I have no clue how I still remember that fact though!).
Oliver Thornton was also in Chicago back when I saw it. Who knew I’d seen him in so much!
The weirdest by far is actually a concert programme, from Party in the Park 2000. It’s in rather horrific condition as I can still remember the way it poured down for most of the day (which resulted in my programme getting completely sodden through and all the pages getting stuck together. I remember the concert and even the nightmare of getting tickets, what I’d forgotten were the acts. I remember Ronan Keating and I remember being very disappointed when Stephen Gateley didn’t perform despite being on the bill. I remember that the only time I sat down all day was during Moloko because I didn’t much like them and I remember Lionel Richie (though he’s not actually on the programme, so I’m wondering if I imagined that or if he replaced someone else (like Gary Barlow replaced him at the BBC gig in Hyde Park that I missed last summer). I also have a vague recollection of Five performing with Queen – mostly cos I liked Five :P. The thing is, I saw some seriously cool acts that day. Perhaps some of them weren’t as famous then as they are now, but even so. Amongst others, assuming the programme is correct, I saw: Bon Jovi, Bryan Adams, All Saints, Christina Aguilera (I think I actually remember her singing Genie in A Bottle), Elton John with the Backstreet Boys (man I wish I remembered that!), Kylie, Destiny’s Child (when there were still four of them!), Craig David, Steps, Westlife and Billie Piper!
I guess the most melancholy (at least based on programme findings plus the fact I was looking through the glossy brochure too and sulking about not getting to see it again) was from Hair in the West End. For some stupid reason I only bought the one, back when I first saw it and Will Swenson was still playing Berger. I did get Steel’s autograph and a fair chunk of the named cast, but I’m missing so many tribe members, it’s really rather sad. It was also before Liam joined the show, so he’s not in it either. I’m kicking myself now for not buying a second one later in the run and I did actually try to get my hands on one through various sources after the show closed and I realised how stupid I’d been, but nothing came of it. Such a shame :(. Still, I suppose I had an incredible summer (of love) with my beloved hippies and I’ll always have those fabulous memories plus the ones from Boston even if I don’t get another chance to see Hair again anytime soon. (I’ve also listened to the album the whole way through today, which didn’t help! – Let the sun shine in)
And finally on a slightly chirpier note, I apparently saw Michael Barrymore as Wishee Washee in Aladdin at the Manchester Opera House all the way back in 1992 :P. I think that’s the oldest one I found, except perhaps Rainbow which I saw live on stage when I was very very small, but I don’t know what year it was.
Anyhoo, in case you were wondering what that many programmes look like (or if you were wondering why it took me FIVE hours to go through them all), this is the whole lot of them:
On average I’d guestimate that there are about 20 per stack, maybe a few more. Of course there are shows I didn’t get programmes for, either because it was many years ago when £3 was just too much to spend or because they simply weren’t available. There are also shows I have several versions of; Phantom, Les Mis, etc. etc.. It’s a good collection though and I’m pretty proud of it. At least next time I lament the fact that life always seems to pass by far too quickly, I can look at this lot and think ‘Well at least I’m not wasting it’.
Anyways, there were countless other names that appeared time and time again, but the above were the ones that really stood out and made me go ‘oooh, cool’. I gotta say, it’s just another reason I love theatre, following careers from the early days. I think that’s even part of the reason I’m so fond of Liam, having seen (possibly) every show he’s been in since he started out. I still see big things in his future and I love watching that ascension from nobody to universally acknowledged star. One day I’ll be watching him play some massive part *cough*Phantom*cough* and I’ll be able to look back and say ‘look how far he’s come’ and know I’ve been there since the beginning.
Peace, loVe loVe and happiness,
K xx
PS. And now I get to do some serious tagging :P. Overkill, thy name is random posts about 2 decades of theatre trips and deciding to tag every single person/show/theatre mentioned!
PPS. I have a multitude of almost finished reviews, so fingers crossed I’ll get at least some of them posted in the next few weeks.
If West End Bares has taught me anything, it’s that if I’m ever fortunate enough to get married, I DEFINITELY want a stripper at my hen-do! Tonight marked the first time I’ve ever stuffed money (admittedly fake MAD Trust money, but that’s entirely beside the point) into hot men’s underpants and it is certainly an experience I would like to repeat. One of them even blew me a kiss! I didn’t manage to get near Oliver Thornton (aka the owner of the nicest arse in Theatreland) but I still had an absolute blast. Cafe de Paris is a gorgeous venue as well and I may have to investigate the possibility of going out there one night depending on what they have on.
I wasn’t really sure what to expect, but it turned out to be rather like a burlesque cabaret show with a theatresque spin. There were a variety of choreographed numbers interspersed with chatter from the presenters (the lovely Sheridan Smith and the less lovely but also less annoying than I’d expected Gok Wan) and a musical performance by the delectable Ramin Karimloo who sang Sex On Fire.
I actually didn’t recognise most of the performers (clearly something I need to rectify ASAP) but obviously I knew Ramin and Oliver, plus there were appearances by Summer Strallen who I think is absolutely wonderful and Holly James (an ex-hippy). There was plenty of bare flesh, with many performers stripping off completely, though admittedly with carefully placed props and/or hands.
Overall, it was fabulous fun. One girl (actually, I think it was her mother on her behalf!) donated £35 to snog Oliver – more than fair I thought and, let’s face it, I’d have done it too if I thought I could have actually gone through with it! As I said, I shoved about four notes into various incredibly hot men’s tight and often barely-there pants and did plenty of ogling. Needless to say I will definitely be back next year! *fans face in an attempt to cool down*. I also have a more pressing desire to go off and book tickets for Naked Boys Singing, something I’ve been meaning to do for a while.
In other news, I went to see a couple of other shows this week, but since I’m so behind I’ll just add them here. First off was Top Girls at Trafalgar Studios, which was a complete impulse decision. I’d actually intended to see Crazy For You but by the time I made it to Tkts they no longer had the tickets, so I had to choose something else. I did, however, find out from the helpful box office man that the show is moving to the West End, which means I can now wait and see it in a nice warm theatre with a roof instead.
So, I didn’t know all that much about Top Girls, which turned out to be a bit of a shame. The first act was what appealed to me when I read the blurb; a dinner party for women from across the ages, but the second and third acts were more gritty drama and far less up my street. Both parts of the story are centred around Marlene and the play begins with her celebrating her promotion before moving to focus on her family. I enjoyed it to a point, but I found that a lot of the dialogue involved people speaking over each other and at times I found it very difficult to follow. Not one of my best impulse decisions, but I’m not sure I had many other alternatives really and it was better than a night at home.
All of that said, the cast were superb. Suranne Jones played Marlene, the lead and the only person to play a single character. I thought she was absolutely brilliant (and have finally managed to work out where I recognise her from – she played the TARDIS in an episode of Dr Who). I also enjoyed Lisa Kerr as Kit and Olivia Poulet as Angie, though they both played other parts as well. They were incredibly believable as the young characters they were playing. Lucy Briers as Pope Joan was another impressive performance and finally, props to Stella Gonet as Joyce.
I felt a bit funny going to the stage door afterwards, mostly in case I bumped into Stevie Webb, since I wouldn’t have been there to see him. Presumably he wouldn’t have recognised me anyway, but I think I might have just missed him. Either way, it wasn’t a problem and I managed to get autographs off of most of the cast and was on my way home fifteen minutes after leaving the theatre – not bad going really!
Anyhoo, I also went to the Bete Noire cabaret at Madame Jojo’s, which was good fun (and probably put me even more in the mood for tonight’s spectacle). There were a variety of acts, some better than others, but particular favourites were the compare, Ophelia Bitz, Abigail something or other, a comedian, and Piff the Magic Dragon who was part comedian, part magician and very entertaining. My absolute favourite act of the night, however, was Matt Hennem, a juggler who did a routine with one of those large crystal balls. I’ve seen street performers doing that sort of thing before, but this was something else. I think my jaw actually dropped a few times it was so well done. Unfortunately, I wasn’t overly impressed with the burlesque dancer, but I think I’ve been spoiled by some of the girls I saw in Edinburgh who were spectacular.
It was a bit different to what I usually go for, but it only cost £5 thanks to an offer from Time Out and I’m glad I went (even if it then cost me another fiver for ONE bottle of Corona substitute – I remember when that was 99p on Monday’s in Lloyds on Broadstreet in Brummieland. Admittedly it was seven years ago and in Birmingham, but still!). It was also rather nice spending an evening with my baby sister before she goes off to university (ok, so she’s not exactly a baby anymore… *sob*).
So plenty of bare flesh in the last few days, but back to normal this week with a bit of straight theatre and a fringe musical… bit of a shame really!
Anyhoo, until next time…
Peace, loVe loVe and happiness,
K xx
It’s official. Oliver Thornton has the nicest arse in Theatre Land, possibly the world.
So, Priscilla, Queen of the Desert at the Palace Theatre (incidentally, not only did I work directly opposite for several months early last year (I could even see into the wig room when they left the window open), it’s also one of the most stunningly ornate theatres that I’ve ever visited)… I’m not even sure where to start. It was absolutely spectacular in every way and I loved it. I saw the film a few months ago and really enjoyed it; the cheese, the glitz, the glam, it’s simply fabulous, darling. The show is everything the film is and more.
The costumes were brilliant (the kind I’d love to try designing), with a mix of old favourites from the film and sparkly new numbers. The sets were reasonably understated, as one would expect given that the majority of the show takes place in the outback, which just added to the effect of the costumes. Though Priscilla herself, was perfectly OTT, of course. As for the music, it was pure unadulterated cheese and almost every song had me wanting to jump up and dance.
The cast were top notch. I saw the understudy for Bernadette which I didn’t realise until I asked for Don Gallagher at the stage door (nice and embarrassing, of course), and I have to admit I wasn’t overly impressed. I’m not sure which understudy I saw, and he was good, he just wasn’t as fabulous as the rest of them. Ben Richards, by contrast, well deserved the part of Tick/Mitzi. His voice is lovely, his body is luscious and his acting was totally believable. I’ll admit I wasn’t overly excited about the prospect of seeing Ray Meagher as Bob, having only ever had a brief fling with Home & Away in my youth (back in the Vinnie and Justine days), but he played the role well, so fair play to him.
And then there was Adam/Felicia, played by Oliver Thornton, who deserves a paragraph all to himself. I’ll admit I was a little biased towards him before the show even started, but I could barely take my eyes off of him whenever he so much as set a stiletto clad foot on the stage. His acting was wonderful, making me laugh out loud and nearly bringing me to tears at all the right moments. His voice is lovely and then there’s his body… His legs are just… And his chest… And never mind the fact that facially he’s absolutely beautiful… And then there’s his arse… Dear G-d that tuchus is perfectly formed. I could probably write a whole post just raving about it. I won’t, but I could. Anyways, I laughed when someone tweeted Oliver to say that their West End Bares calendar was going to get stuck on February (Oliver’s month), but I think mine actually will!
Moving on, however, well, sort of… My favourite scene had to be the one where Adam gets all dolled up and drugged up before almost getting beaten up by a gang. I can’t say I was expecting it to be my favourite scene, but it started with Oliver in a pink sparkly thong (and matching bra), rolling on his hold-ups and ended with him all emotional and vulnerable. Then there was the bit in between, featuring a weird seductiveness that was pure sex no matter how off his head he was acting. I think my tongue may have actually fallen out of my mouth when he showed off his arse in that thong, though. I mean, DAMN!
Other than the sexy Oliver scenes (don’t even get me started on the bondage gear in his opening number), I really enjoyed the interplay between the three main characters, particularly when they were on the bus. The big dance numbers were also great, particularly as they had such a talented cast. And of course, I loved the big shoe on top of the bus with the blaring opera music and not just because it was Oliver in skin tight glitter (though of course, that helped).
So, needless to say; I loved it, now have a desperate urge to glam it up and go dancing (which I shall unfortunately have to suppress for the moment), will definitely see it on Broadway so long as I get the chance to see it with the delectable Will Swenson and have officially added Oliver ‘Sex on a Stick’ Thornton to the ‘To Stalk’ list.
Anyways, Love Never Dies on Thursday, which probably won’t get a proper review as I’ve already done it to death, but I’m sure I’ll be back between now and the Flamenco show I impulsively booked for next week at the Peacock Theatre (I missed the one I went to in Edinburgh as I somehow managed to fall asleep in the middle of it (no, I don’t know how that happened), so I thought I’d have another go).
So until then, keep it glitzy,
K xx
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https://deepmind.google/technologies/imagen-3/
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en
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Imagen 3
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[] |
[] |
[
""
] | null |
[] |
2024-08-05T00:00:00
|
Imagen 3 is our highest quality text-to-image model, capable of generating images with even better detail, richer lighting and fewer distracting artifacts than our previous models.
|
en
|
Google DeepMind
|
https://deepmind.google/technologies/imagen-3/
|
Imagen 3 is our highest quality text-to-image model, capable of generating images with even better detail, richer lighting and fewer distracting artifacts than our previous models.
We’ve significantly improved Imagen 3’s ability to understand prompts, which helps the models generate a wide range of visual styles and capture small details from longer prompts.
To be even more useful, Imagen 3 will be available in multiple versions, each optimized for different types of tasks, from generating quick sketches to high-resolution images.
Imagen 3 is available via ImageFX and Vertex AI.
Greater versatility and prompt understanding
We’ve designed Imagen 3 to generate high-quality images in a wide range of formats and styles, from photorealistic landscapes to richly textured oil paintings or whimsical claymation scenes.
Imagen 3 also understands prompts written in natural, everyday language, making it easier to get the output you want without complex prompt engineering.
To help Imagen 3 capture nuances like specific camera angles or compositions in long, complex prompts, we added richer detail to the caption of each image in its training data. Given better information to learn from, Imagen 3 more accurately generates a wide range of subjects and styles.
|
|||
6669
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dbpedia
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0
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https://medium.com/%40othornton414/jupyter-notebook-for-ml-technical-program-managers-7d977debedf7
|
en
|
Jupyter Notebook for ML Technical Program Managers
|
https://miro.medium.com/v2/da:true/resize:fit:1200/0*xI7A-WVz8_z8vqY1
|
https://miro.medium.com/v2/da:true/resize:fit:1200/0*xI7A-WVz8_z8vqY1
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[
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[
"Oliver Thornton",
"medium.com"
] |
2023-08-24T00:37:12.299000+00:00
|
Lately companies are starting to identify a very specific set of skills related to the machine learning world and data science. They are now considered a key value for ML TPMs. One of these is skills…
|
en
|
https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
|
Medium
|
https://medium.com/@othornton414/jupyter-notebook-for-ml-technical-program-managers-7d977debedf7
|
Lately companies are starting to identify a very specific set of skills related to the machine learning world and data science. They are now considered a key value for ML TPMs. One of these is skills is the ability to dig deeper into the data to better understand patterns, extract information, and combine datasets.
Technical Program/Project Manager (TPMs) are constantly challenged with the need of analyzing and correlating large amounts of data coming from different sources, and specially from Excel, data extracts, etc. If you fall into that category, this article is for you.
And that is where the Python Pandas library comes into the play. In this write up I will share the basics on using Pandas DataFrame for manipulating and analyzing data to obtain insights or views that otherwise would require a lot of work using Excel or Google worksheets.
For this post I will use small data sets such that we can keep track of what is happening. Notice that you should be able to scale the same process for larger data sets.
I will walk you through an end to end scenario that will show in a practical manner how to make use of Jupyter Notebook to read, filter, and connect data using Python Panda’s DataFrames.
⚠️ Assumptions for this article: You have basic understanding of Python language, know how to run basic python programs, or have access to a Jupyter Notebook either on your laptop or a cloud/share environment.
Scenario
Let’s assume you are given sales information and need to analyze the data to provide insights such as total per customer, items sales, location of customers, etc.
The data comes in three separate tables: Sales, Customer, and Products.
Data sets can be imported from Excel. For simplicity I included the code required for the import, but will not be using it. I will populate the data as code.
Python Pandas — The basics
Pandas is a popular Python library used for data science as it offers, among other things, an easy way to manipulate and understand data when available in table format (rows / columns).
Pandas makes use of an structure name DataFrames, which are two-dimensional data structures (grid) where each row contains values, and each column correspond to the label of that value. Potentially each column could be of a different data type. If you are familiar with Excel spreadsheets, you are already familiar with what a DataFrame looks like.
With that very simple definition in mind, let’s look at our sales table and dive into the code:
In this example, each row contains values and the columns contain the label for that value. To create this table we can use the following code:
# Import Pandas library
# In order to have access to the DataFrame structure and functions within it
# you must first import Pandas library into your program.
import pandas as pd
# SALES DATA
# Create a list containing the values of each column
sales = [
['0100212',1001,9001,5,24.99,'2023-5-1' ],
['0100212',1001,9023,1,124.19,'2023-5-1' ],
['0223432',1003,9001,3,28.99,'2023-6-12' ],
['0223432',1003,9024,3,12.97,'2023-6-12' ],
['0100123',1004,9001,5,24.99,'2023-6-21' ],
['0100123',1005,9027,1,99.99,'2023-6-21' ],
['0221152',1011,9002,3,14.99,'2023-7-3' ],
['0221152',1011,9035,3,8.85,'2023-7-3' ]
]
# converts list into a pandas dataframe and assign name to each column
salesdf = pd.DataFrame(sales, columns=['Account','Order','Item_id','Quantity','Unit_price','Date'])
The output of this code is the table displayed above. Notice that we used the Pandas DataFrame library to create our sales-DataFrame. There are multiple ways of creating these structures, but for practical purposes on this article, I will use this approach.
Moving forward all the code will have comments so that code and documentation stay together.
Before we move forward, let’s create the remaining DataFrames for Customers and Products.
# Creates Customer Data List
cust = [
['0100212','John Smith','1 Royal Way','Las Vegas','Nevada'],
['0100123','Jane Foster','201 Main Street','Seattle','Washington'],
['0230432','Bob Anderson','45 Pine Drive','Salem','Oregon'],
['0200133','Charles Peterson','10-2023 Somewhere Street','Everette','Washington'],
['0221152','Mary Popins','1 Heaven Way','San Diego','California'],
['0223432','Peter Foster','123 Artist Drive','Santa Monica','California']
]
# Converts the list into a DataFrame, and assign names to the columns
custdf=pd.DataFrame(cust, columns=['Cust Account','Name','Address','City','State'])
custdf
# Creates Products Data List
products = [
[9001,'Booster ABC',24.99],
[9002,'Safety belt RB',19.99],
[9003,'Dash flower', 3.95],
[9023,'Pad Safety ARB',135.25],
[9024,'Rear deflector Stop',15.99],
[9027,'Front Dash Bumper',99.99],
[9035,'Vanity Mirror SQ',9.95]
]
# Converts the list into a DataFrame, and assign names to the columns
prodsdf = pd.DataFrame(products, columns=['Item','Description','Sug_price'])
prodsdf
The result of the previous code will be our three datasets properly converted to DFs.
Now that we have our data structures in place, and properly converted to Pandas DataFrameworks, let’s start understanding the basic usage of DataFrames. For that, the first mental model we need to form is that a DataFrame is just a bi-dimensional array, so we should be able to get to the individual elements of the array if we know the row/column coordinates.
Accessing and retrieving elements in a DataFrame (DF)
The first column of a DF, in our case above a sequential number, corresponds to the “index” to that specific row. Notice that the index starts with zero (0) and not one (1). So to retrieve “John Smith”’s record we need to use: custdf.loc(0) Where 0 is the index. The following code illustrates the output.
# Retrieves and print the content of record index 0
print(custdf.loc[0])
Cust Account 0100212
Name John Smith
Address 1 Royal Way
City Las Vegas
State Nevada
Name: 0, dtype: object
This type of access can become difficult for very large DFs, specially when we know there could be a different access key, in this case for example customer number. Pandas let you change the index column very easily using the command DF.set_index(). In our case we want to use: custdf.set_index('Cust Account')
Important Detail — In the code below we created a NEW copy of the same DF with Account Number as index. The original DF (custdf) still has the sequential number for index. To change the index on custdf permanently we need to use: custdf.set_index('Cust Account', inplace=True) . Let's not change it for now as having 2 similar DFs will help us illustrate the next point.
# Creates a new dataframe named tmpdf with 'Cust Account' column as index
tmpdf=custdf.set_index('Cust Account')
# Changing the value for Bob Anderson Address on tmpdf
tmpdf.loc['0230432','Address'] = '55 Olson Pl.'
# display tmpdf dataframe - Notice address change
print ("TMPDF DATAFRAME")
display(tmpdf)
# display original custdf dataframe - Notice address did not change for Bob Anderson
print ("\nCUSTDF DATAFRAME")
display(custdf)
In the code, I illustrate:
* the index for TPMDF is now the Cust Account number. The sequential index remains on CUSTDF.
* how to access individual elements through the row/column combination,
* how to update the value of that specific cell, and
* the fact that Bob Anderson’s address is different in the original and copy DFs.
If you want to retrieve more than one record or set of records, Pandas makes it very easy. All you have to do is specify what you need:
# Retrieve specif records by given a list of indexes separated by comma
print ("Retrieving specific records by index:")
display(tmpdf.loc[['0100212','0230432']])
# Retrieves a range of indexes - This is sequential on the list
print("\nor a range (also called slice) of the list \n")
display(tmpdf.loc['0100212':'0230432'])
Now, if we want to retrieve specific columns and not all of them. We can easily do so by specifying which columns are of interest. In the case of our new dataframe tmpdf the first column (index) is going to be the "Cust Account". If we run the same command for custdf we will see a numeric index instead. Of course we could retrieve only a subset of the rows. Let’s see:
# Display only 2 columns for tmpdf
display(tmpdf[['Name','State']])
# Display the same 2 columns for custdf
display(custdf[['Name','State']])
# Display only 2 columns for a slice of the data
print("\nOnly a slice of the dataframe and show specific columns")
display(tmpdf.loc['0100212':'0230432'][['Name','State']])
Searching for elements using LOC
Having an index that we are familiar with is very useful, but what happens if we are interested in rows that meet a specific criteria and not just the index?. For example all customers who live Washington. In that case we need to specify the search criteria, as well as if we want only specific columns.
# Search the tmpdf DataFrame and prints all rows wher customer State is equal to Washington
print ("All columns for Washington State\n")
# The LOC attribute allows us to do simple and complex searches
display(tmpdf.loc[tmpdf['State'] == 'Washington'])
# Same search but prints only a subset of the columns
print ("----")
print ("Showing only columns Name and City\n")
display(tmpdf.loc[tmpdf['State'] == 'Washington'][['Name','City']])
You can have more complex searches using the .isin function, or using logical long expressions. Let’s look at the following examples:
# List all records where State is either Washington or Oregon
print("Customers in Washington or Oregon")
display(tmpdf.loc[tmpdf['State'].isin( ['Washington','Oregon'])])
# List all records where State is either Washington or Oregon
print("\nCustomers in Washington or San Diego")
display(tmpdf.loc[(tmpdf['State'] == 'Washington') | (tmpdf['City'] == 'San Diego')])
# Or just those who are neither Washington or Oregon
print("\nCustomers NEITER in Washington NOR Oregon")
display(tmpdf.loc[~tmpdf['State'].isin( ['Washington','Oregon'])])
I don’t want to sound overly enthusiastic but the possibilities are almost endless. As bonus, let me extend for a minute to show an example using regular expressions. Assume you want all customers with name starting with J or lastname Foster.
# using regular expressions. Name starting with letter J
display(tmpdf.loc[(tmpdf['Name'].str.contains(r'(^J)') )])
# using regular expressions. Lastname is Foster
display(tmpdf.loc[(tmpdf['Name'].str.contains(r'(Foster)') )])
Pretty cool eh? Using regular expressions would be an article on its ow, but I encourage you to explore this feature a lot more.
Connecting DataFrames
Back to our problem. Now that we have the basics (please not that there is A LOT more than what I just showed) lets move onto one of the most interesting features of Pandas DataFrames which is the possibility of connecting multiple DFs and working with them to obtain insights.
Before we dive into details, our first step is to get our datasets ready. And, as discussed before, the first step is to change index to the column that we want to use as “key” to access the data. For Customers and Sales we decided to use ‘Account Number’ and for Products we will use ‘Product Id’.
# Update the index on the customer data set such that we can access by account number
custdf.set_index('Cust Account',inplace=True)
display(custdf.head(5))
# Update the index on the Sales data set such that we can access by account number
salesdf.set_index('Account',inplace=True)
display(salesdf.head(5))
# Update the index on the Products data set such that we can access by Item id
prodsdf.set_index('Item',inplace=True)
display(prodsdf.head(5))
So, how are all the three DataFrames connected? Rather than use words let me use an image. As you can see all the three tables contain information that will enable you to join the data and obtain insights. And that is what I will show you how to do.
Simple Join (2 DataFrames)
We now have 2 DFs with the same key field (customers -> Account Number, sales -> Account). Let’s assume that you want to get all the customer information for all sales. In this case a simple df.join() command for those tables will produce that result.
The way your join looks will depend on which DF you use as starting point. See below for details on both examples.
The first block of code will show you all the customers and their corresponding transactions from the sales DF. Note that those customers without transactions will show values as NaN
print("Dataframe.Join using Customer --> Sales")
custdf.join(salesdf)
The second block of code will display all Sales records and their corresponding customers. In this case those customers without transactions will NOT be displayed.
print("Dataframe.Join using Sales --> Customer")
salesdf.join(custdf)
We can join DFs and sort them by specific columns:
# Sort values by Customer account, and then orders within each account
custdf.join(salesdf).sort_values(by=['Cust Account','Order'])
For easier read we can use the group functionality for DataFrames:
# Sort the result by 'Account' and 'Order', then groups by Account > Name > State > Order > Item
custdf.join(salesdf).sort_values(by=['Cust Account','Order']).groupby(['Cust Account','Name','State','Order','Item_id']).mean('Unit_price')
Going advance: Joining 3+ DataFrames
Now that we are familiar with the join function, it is time to move to the next step and start getting some good insights.
In general joining 3 DFs is just the same as above. It is just an iterative process of joining 2 DFs at a time: update index to match each other, and join.
As before, easier if we justlook at the code:
# STEP 1
# Create NEW dataframe with Sales and Customers. Both tables are indexed by Account number
salescustdf=salesdf.join(custdf).sort_values(by=['Account','Order'])
salescustdf
# STEP 1.5
# Display the new table as group for easier reading - Nothing new up to here
# Group the results by Account > Customer > Order > Item Id
salescustdf.sort_values(by=['Account','Order']).groupby(['Account','Name','State','Order','Item_id']).mean('Unit_price')
# STEP 2
# Set the index of the NEW JOINED CustomerSales DataFrame to match the index of Products
# For the next step needs to index by Item Id to be able to join the Products table
salescustdf.set_index('Item_id',inplace=True)
salescustdf
Before we go to the next step, we need to reset the index to a numeric value, and then, in preparation for the upcoming join, set “Item_Id” as the new index.
Our Products table is already using Item Id as index, so all what is left to do is joining salescustdf with products (prodsdf):
# Reset the index to a default numeric value
salescustdf.reset_index(inplace=True)
salescustdf
# Set the index of SalesCustDF to Item_id
salescustdf.set_index('Item_id',inplace=True)
salescustdf
# Created a new DFs with all the 3 tables together
alldfs=salescustdf.join(prodsdf)
alldfs
And finally.. let’s get some insights..
We now have a DF with all our data merged together. Let’s start answering some questions:
🎯 List all accounts and sales, grouped by customer and order number
# List all accounts and sales grouped by customer and order number
# Group the results by Account > Customer > Order > Item Id
alldfs.sort_values(by=['Account','Order']).groupby(['Account','Name','State','Order','Item_id','Description']).mean('Unit_price')
🎯 List All Sales by State:
# Sales by State
alldfs.sort_values(by=['Account','Order']).groupby(['State','Account','Name','Order','Item_id','Description']).mean('Unit_price')
🎯 Add new column and list Totals for all Sales per Item
# Add a column to calculate the total of each line item (unit x sale price)
alldfs['Total Item']=alldfs['Quantity']*alldfs['Unit_price']
alldfs
🎯 Present summary of sales by State
alldfs.sort_values(by=['Account','Order']).groupby(['State','Account','Name','Order','Item_id','Description']).sum('Total Item')
🎯 List number of items sold by state
# Which item sold by state
alldfs.groupby(['State','Item_id','Description','Quantity'])[['Description']].sum('Quantity')
🎯 List total of sales per account
# Show the total per Account
alldfs.groupby(['Account'])[['Name','Total Item']].sum()
🎯 List how many units of each item were sold, calculate the average price, total sales. Note that some items were not sold at the Suggested Price
# How many units were sold of every item, what was the average price, and total sold. Notice how we can have different operations on different columns.
alldfs.groupby(['Item_id','Description','Sug_price']).agg({'Unit_price':'mean', 'Quantity': 'sum', 'Total Item': 'sum'})
🎯 Show which State had and the most sales and what was the mean price paid. Also, show which Customers spent the most
# find wich state had most sales
alldfs.groupby(['State']).agg({'Unit_price':'mean', 'Quantity': 'sum', 'Total Item': 'sum'}).sort_values(by = 'Total Item', ascending = False)
# Which customer spent the most
alldfs.groupby(['Account','Name','City','State']).agg({'Total Item':'sum'}).sort_values(by='Total Item', ascending=False)
🎯 Show which products where sold at different priced from Suggested Price
# Find which products were sold at different price from RSP
# - NOTICE THAT Item_id is not called out as it is already the default index
alldfs[alldfs['Unit_price'] != alldfs['Sug_price']][['Description','Unit_price','Sug_price']]
We could go on and on with the insights but I hope this gets you started on your own journey through data exploration and insights.
And remember, be kind to one another!
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https://www.skidmore.edu/environmental_studies/faculty/covey.php
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Kristofer Covey
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Kristofer Covey
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Assistant Professor of Environmental Studies and Sciences
Office: CIS 210F
Lab: CIS 327
Phone: 518.580.8011
Email: kcovey@skidmore.edu
Google Scholar Profile
EDUCATION
Ph.D., Silviculture and Biogeochemistry (2016)
School of Forestry and Environmental Studies
Yale University, New Haven, CT
Master of Forestry (2010)
School of Forestry and Environmental Studies
Yale University, New Haven, CT
Bachelor of Arts, Physics (2003)
State University of New York at Potsdam, Potsdam, NY
COURSES AT SKIDMORE
ES 105 Field Studies in Environmental Science
ES 205 Forest Ecosystem Analysis
ES 252D Managing Ecosystem Change
ES 352D Science to Solutions
ES 352D Wicked Problems and Systemic Solutions
ES 252D Regenerative Environmental Systems
ES 374 Research Capstone: Design and Methods
ES 375 Research Capstone: Data Collection, Analysis, and Communication
RESEARCH INTERESTS
Dr. Covey studies terrestrial ecosystems and their role in climate and life. An Applied Ecologist, and a Biogeochemist, Kris works to integrate his research into solutions for managing human dominated landscapes for multiple values. After designing the global study that provided the first robust estimate of number of trees on earth (3.04 trillion), Kris turned his focus to large-scale soil carbon mapping using a novel combination of existing technologies. Prior to joining the faculty at Skidmore College, Dr. Covey was the Lead Scientist at the Ucross High Plains Stewardship Initiative and a Lecturer in Forest Dynamics at the Yale School of Forestry and Environmental Studies. There, he co-founded the Western Research Fellowship at the Ucross Highplains Stewardship Initiative and the Quick Carbon research program, served as a member of the School's Diversity and Inclusion Strategy Committee, and as a member of Yale University’s Carbon Offset Task Force. Kris is a Co-Founder and President of The Soil Inventory Project, a non-profit building a national scale soil carbon inventory. As a contributor to the Global Carbon Project's Methane Working Group, Kris authored the vegetation section of the Global Methane Budget. He serves as a member of the Board of Trusties for The Adirondack Nature Conservancy and is an appointed member of the New York State Wood Products Development Council.
PUBLICATIONS
Peer Reviewed Research Manuscripts
Jensen, K.H., Faehndrich, C.S.,Colzani, E., McClure, M.L., and K.R. Covey (2023) “Rapid soil harvesting using a novel soil auger system for farm-scale soil carbon estimates”Soil Science Society of America Journal, DOI: 10.1002/saj2.20603
Bettigole, C ., Hanle, J., Wood, S., Kane, D., Szeto, S., Downey, M., Bradford, M., Basso, B., Pagliaro, Z. *, Kolodney, S. *, Szuhay, S. *, Chandler, M. *, Hersh, E. *, Hardy, S., Wolf, Z, and K.R. Covey (2023) “Optimizing sampling strategies for near-surface soil carbon inventory: One size doesn’t fit all.” Soil Systems, https://doi.org/10.3390/soilsystems7010027
Bradford, Mark A., Veen G.F. (Ciska), Bradford, E.M., Covey, K.R., Crowther, T.W., Fields, N., Frankson, P.T., González-Rivero, J., Jevon, F.V., Kuebbing, S.E., McBride, S., Mohan, J.E., Oldfield, E.E., Oliverio, A.A., Polussa, A., Steinrueck, C., Srickland, M.S., Ward, E.B., Wepking, C., Maynard, D.S. 2022 “Coarse woody debris accelerates the decomposition of fresh deadwood inputs across eastern U.S. temperate forest”, Biogeochemistry, https://doi.org/10.1007/s10533-023-01045-8
Goodwin, D.J., Kane, D.A., Dhakal, K., Covey, K.R., Bettigole, C., Hanle, J., Ortega-S, J.A., Perotto-Baldivieso, H.L., Fox, W.E., Tolleson, D.R. (2022) “Can Low-Cost, Handheld Spectroscopy Tools Coupled with Remote Sensing Accurately Estimate Soil Organic Carbon in Semi-Arid Grazing Lands?”, Soil Systems, https://doi.org/10.3390/soilsystems6020038
Gantz T.R., McMurray, K., Covey K.R., Bettigole C. and G. Benoit. (2021) “Chemical effects of snowmelt on an alpine lake in the Wind River Range, WY”, Limnology and Oceanography,https://doi.org/10.1007/s11270-021-05284-z
Saatchi, S., Longo ,M., Xu, L., Yang, Y., Abe, H., André, M., Aukema, J., Carvalhais, N., Cadillo-Quiroz, H., Cerbu, G.A., Janet, M., Chernela, J., Covey, K.R., Sánchez- Clavijo, L., Cubillos I., Davies S., De Sy, V., De Vleeschouwer, F., Duque, A., Durieux, A., Fernandes, K., Fernandez, L., Gammino, V., Garrity, D., Gibbs, D., Gibbon, L., Gowae, G., Hansen, M., Harris N.L., Healey, S., Hilton, R., Johnson, C., Kankeu, R., Laporte-Goetz, N., 27, Lee, H., Lovejoy, T., Lowman, M., Lumbuenamo R., Malhi Y., Martinez, J.-M., Nobre C., Pellegrini A., Radachowsky, J., Románe, F., Russell, D., Seymour, F., Sheil, R., Smith, T., Spencer, R., Stolle, F., Tata, H., del Castillo Torres, D., Tshimanga, R., Vargas, R., Venter, M., West, J., Widayati, A., Wilson, S., Brumby, S., and Elmore, A. (2021) “Detecting vulnerability of humid tropical forests to multiple stressors”, One Earth, https://doi.org/10.1016/j.oneear.2021.06.002
Covey, K., Soper, F., Pangala, S., Bernardino, A., Pagliaro, Z., Basso, L., Cassol, H., Fearnside, P., Navarrete, D., Novoa, S., Sawakuchi, H., Lovejoy, T., Marengo, J., Peres, C.A., Baillie, J., Bernasconi, P., Camargo, J., Freitas, C., Hoffman, B., Nardoto, G.B., Nobre, I., Mayorga, J., Mesquita, R., Pavan, S., Pinto, F., Rocha, F., de Assis Mello, R., Thuault, A., Bahl, A.A., Elmore, A., 2021. "Carbon and Beyond: The Biogeochemistry of Climate in a Rapidly Changing Amazon". Frontiers in Forests and Global Change 4, 11.
Saunois, M., Stavert, A. R., Poulter, B., Bousquet, P., Canadell, J. G., Jackson, R. B., Raymond, P. A., Dlugokencky, E. J., Houweling, S., Patra, P. K., Ciais, P., Arora, V. K., Bastviken, D., Bergamaschi, P., Blake, D. R., Brailsford, G., Bruhwiler, L., Carlson, K. M., Carrol, M., Castaldi, S., Chandra, N., Crevoisier, C., Crill, P. M., Covey, K.R., Curry, C. L., Etiope, G., Frankenberg, C., Gedney, N., Hegglin, M. I., Höglund-Isaksson, L., Hugelius, G., Ishizawa, M., Ito, A., Janssens-Maenhout, G., Jensen, K. M., Joos, F., Kleinen, T., Krummel, P. B., Langenfelds, R. L., Laruelle, G. G., Liu, L., Machida, T., Maksyutov, S., McDonald, K. C., McNorton, J., Miller, P. A., Melton, J. R., Morino, I., Müller, J., Murguia-Flores, F., Naik, V., Niwa, Y., Noce, S., O'Doherty, S., Parker, R. J., Peng, C., Peng, S., Peters, G. P., Prigent, C., Prinn, R., Ramonet, M., Regnier, P., Riley, W. J., Rosentreter, J. A., Segers, A., Simpson, I. J., Shi, H., Smith, S. J., Steele, L. P., Thornton, B. F., Tian, H., Tohjima, Y., Tubiello, F. N., Tsuruta, A., Viovy, N., Voulgarakis, A., Weber, T. S., van Weele, M., van der Werf, G. R., Weiss, R. F., Worthy, D., Wunch, D., Yin, Y., Yoshida, Y., Zhang, W., Zhang, Z., Zhao, Y., Zheng, B., Zhu, Q., Zhu, Q., and Zhuang, Q. (2020) “The Global Methane Budget 2000–2017”, Earth Syst. Sci. Data, 12, 1561–1623
Singer, J.A, Turnbull, R., Foster, M., Bettigole, C., Frey, B.R., Downey, M., Covey, K.R., and M.S. Ashton. (2019) “Sudden Aspen Decline: A review of Pattern and Process in a Changing Climate”, Forests
Maynard D.S., Bradford, M.A., Covey K.R., Lindner, D., Glaeser, J., Talber, D.A., Tinker, P.J., Walker, D.M., and Crowther, T.W. (2019)“Functional traits reveal predictive patterns in fungal biogeography”, Nature Microbiology
Covey, K.R.1 and J.P. Megonigal. (2018) “Tansley Review: Production and Emission of Methane in Forests”, New Phytologist, doi:10.1111/nph.15624
Barba, J., Bradford, M.A., Brewer, P., Bruhn, D., Covey, K.R., van Haren, J., Megonigal, J.P., Mikkelsen, Teis ; Pangala, Sunitha; Pihlatie, Mari; Poulter, B., Rivas-Ubach, A., Schadt, C., Terazawa, K., Warner, D., Zhang, Z., and R.Vargas. (2018) “Methane emissions from tree stems: a new frontier in global carbon”, New Phytologist, doi: 10.1111/nph.15582
Maynard, D., Covey K.R., Crowther, T.W., Sokol, N.W., Morrison, E.W., Frey, S.D., van Diepen, L., MA. Bradford. (2018) “Fungal associations overwhelm abiotic to dictate the structure and function of wood decay communities”, Ecology, doi: 10.1002/ecy.2165
Rutenbeck, N.E., Frey, B.R., Covey, K.R., Berlyn, G.P., Schmitz, O.J., Larson, B.C., and M.A. Ashton. 2018 “Influence of gap position and site preparation on the leaf physiology of planted Picea glauca and natural regeneration of Populus tremuloides”, Forest Ecology and Management doi:10.1016/j.foreco.2018.05.010
Umunay, P., Covey, K.R., Makana, J., and T.G. Gregoire. (2017)“Effect of Shade, Fire, and Weed Control on the Establishment of Pericopsis Elata Regeneration”, New Forests, doi:10.1007/s11056-017-9594-4
Saunois, M., Bousquet, P., Poulter, B., Peregon, A., Ciais P., Canadell, J.G., Dlugokencky, E.J., Etiope, G., Bastviken, D., Houweling, S., Janssens-Maenhout, G., Tubiello, F.N., Castaldi, S., Jackson, R.B., Alexe, M., Arora, V.K., Beerling, D.J., Bergamaschi, P., Blake, D.R., Brailsford, G., Brovkin, V., Bruhwiler, L., Crevoisier, C., Crill, P., Covey, K.R., Curry, C., Frankenberg, C., Gedney, N., Höglund-Isaksson, L., Ishizawa, M., Ito, A., Joos, F., Kim, H.-S., Kleinen, T., Krummel, P., J.-F., Lamarque, Langenfelds, R., Locatelli, R., Machida, T., Maksyutov, S., McDonald, K.C., Marshall, J., Melton, J.R., Morino, I., O’Doherty, S., Parmentier, F.-J.W., Patra, P.K., Peng, C., Peng, S., Peters, G.P., Pison, I., C., Prigent, Prinn, R., Ramonet, M., Riley, W.J., Saito, M., Schroeder, R., Simpson, I.J., Spahni, R., Steele, P., Takizawa, A., Thornton, B.F., Tian, H., Tohjima, Y., Viovy, N., Voulgarakis, A., van Weele, M., van der Werf, G., Weiss, R., Wiedinmyer, C., Wilton, D.J., Wiltshire, A., Worthy, D., Wunch, D.B., Xu, X., Yoshida, Y., Zhang, B., Zhang Z., and Q. Zhu. (2017) “Variability and quasi-decadal changes in the methane budget over the period 2000–2012”, Atmospheric Chemistry and Physics, doi:10.5194/acp-2017-296
Fernandez J., Covey K.R., and M.S. Ashton (2017). “Tamm Review: Large-scale disturbances and their role in regenerating shade-intolerant tree species in Mesoamerican rainforests: Implications for sustainable forest management”, Forest Ecology and Management, 395, 48-68, doi:10.1016/j.foreco.2017.03.025
Oberle, B., Covey, K.R., Dunham, K., Hernandez, E.J., Walton, M.L., Young, D.F. and A.E. Zanne. (2017)“Dissecting the effects of diameter on wood decay emphasizes the control of cross-stem conductivity in Fraxinus americana”, Ecosystems, 1-13, doi:10.1007/s10021-017-0136-x
Saunois, M., Bousquet, P., Poulter, B., Peregon, A., Ciais P., Canadell, J.G., Dlugokencky, E.J., Etiope, G., Bastviken, D., Houweling, S., Janssens-Maenhout, G., Tubiello, F.N., Castaldi, S., Jackson, R.B., Alexe, M., Arora, V.K., Beerling, D.J., Bergamaschi, P., Blake, D.R., Brailsford, G., Brovkin, V., Bruhwiler, L., Crevoisier, C., Crill, P., Covey, K.R., Curry, C., Frankenberg, C., Gedney, N., Höglund-Isaksson, L., Ishizawa, M., Ito, A., Joos, F., Kim, H.-S., Kleinen, T., Krummel, P., J.-F., Lamarque, Langenfelds, R., Locatelli, R., Machida, T., Maksyutov, S., McDonald, K.C., Marshall, J., Melton, J.R., Morino, I., O’Doherty, S., Parmentier, F.-J.W., Patra, P.K., Peng, C., Peng, S., Peters, G.P., Pison, I., C., Prigent, Prinn, R., Ramonet, M., Riley, W.J., Saito, M., Schroeder, R., Simpson, I.J., Spahni, R., Steele, P., Takizawa, A., Thornton, B.F., Tian, H., Tohjima, Y., Viovy, N., Voulgarakis, A., van Weele, M., van der Werf, G., Weiss, R., Wiedinmyer, C., Wilton, D.J., Wiltshire, A., Worthy, D., Wunch, D.B., Xu, X., Yoshida, Y., Zhang, B., Zhang Z., and Q. Zhu. (2016)“The Global Methane Budget: 2000-2012”, Earth System Science Data, 8, 697-751, doi:10.5194/essd-8-697-2016
Covey, K.R.1, Bueno de Mesquita, C.P., Oberle, B., Maynard, D.S., Bettigole, C., Crowther, T.W., Duguid, M.C., Steven, B., Zanne, A.E., Lapin, M., Ashton, M.S., Oliver, C.D., Lee, X. and M.A. Bradford. (2016) “Greenhouse trace gases in deadwood”, 130(3), 215-226, Biogeochemistry, doi:10.1007/s10533-016-0253-1
Glick, H.B., Bettigole, C., Maynard, D.S., Covey, K.R., Smith, J.R., and T.W. Crowther. (2016) “A spatially-explicit model of global tree density”, Nature Scientific Data, 3:160069. doi:10.1038/sdata.2016.69.
Crowther, T., H. Glick, K.R. Covey, C. Bettigole, D. Maynard, S. Thomas, J. Smith, G. Hintler, M. Duguid, G. Amatulli, Tuanmu, M-N, Jetz, W., Salas, C., Stam, C., Piotto, D., Tavani, Rl, Green, S., Bruce, G., Williams, S.J., Wiser, S.K., Huber, M.O., Hengeveld, G.M., Nabuurs, G.J., Tikhonova, E., Borchardt, P., Li, C.F., Powrie, L.W., Fischer, M., Hemp, A., Homeier, J., Cho, P., Vibrans, A.C., Umaunay, P.M., Piao, S.L., Rowe, C.W., Ashton, M.S., Crane, P.R. and M.A. Bradford (2015) “Mapping tree density at a global scale”, Nature, 525(7568), 201-205. doi:10.1038/nature14967
Crowther, T.W., S.M. Thomas, D.S. Maynard, P. Baldrian, K.R. Covey, S.D. Frey, L.T. van Diepen, and M. A. Bradford (2015) “Biotic interactions mediate soil microbial feedbacks to climate change”, Proceedings of the National Academy of Sciences, 112(22), 7033-7038. doi:10.1073/pnas.1502956112
Crowther, T.W., D.S. Maynard, S.M. Thomas, P. Baldrian, K.R. Covey, S.D. Frey, L.T. van Diepen, and M.A. Bradford (2015) “Reply to Veresoglou: Overdependence on “significance” testing in biology”, Proceedings of the National Academy of Sciences, 112(37), E5114-E5114. doi:10.1073/pnas.1513283112
Covey, K.R.1, A.L. Barrett, and M.S. Ashton (2015) “Ice storms as a successional pathway for Fagus grandifolia advancement in Quercus rubra dominated forests of southern New England”, Canadian Journal of Forest Research, 45(11), 1628-1635. doi:10.1139/cjfr-2015-0069
Covey, K.R.1, C.J. Carroll, M.C. Duguid, K. Dorji, T. Dorji, S. Tashi, T. Wangdi, and M.S. Ashton (2015) “Developmental dynamics following selective logging of an evergreen oak forest in the Eastern Himalaya, Bhutan: Structure, composition, and spatial pattern”, Forest Ecology and Management, 336, 163-173. doi:10.1016/j.foreco.2014.10.006
Covey, K.R.1, S.A. Wood, R.J. Warren, X. Lee, and M.A. Bradford (2012) “Elevated methane concentrations in trees of an upland forest”, Geophysical Research Letters, 39(15). doi:10.1029/2012GL052361
Clark, J.A., and K.R. Covey1 (2012) “Tree species richness and the logging of natural forests: A meta-analysis”, Forest Ecology and Management, 276, 146-153. doi:10.1016/j.foreco.2012.04.001
Peer Reviewed Book Chapters
Ashton, P.M.S., Barrett A.L., Covey K.R., and Duguid M.C. (2015) “Yale School Forests, New England, United States”, Siry, J., P. Bettinger, K. Merry, D. Grebner, K. Boston, C. Cieszewski, (eds.) Forest Plans of North America. Academic Press
Covey, K.R.¹ (2013) “Forest Carbon and Climate Change”, Cashore B. & Jodoin S. (eds.) Forests in a Changing Climate: A Sourcebook for Integrating REDD+ Into Academic Programmes. United Nations Environmental Programme. United Nations Environmental Programme.
Oliver C.D., Covey K.R., Hohl A., Larsen D., McCarter J.B, Niccolai A., and Wilson J. (2012), “Landscape Management”. J. Stanturf et al. (eds.). Forest Landscape Restoration: Integrating Natural and Social Sciences. World Forests 15, Springer. doi:10.1007/978-94-007-5326-6_3
Covey, K.R.¹, Orefice J., Lee X. (2012), “The physiological ecology of carbon science in forest stands”. M.L Tyrrell, P.M.S. Ashton, D. Spalding, & B. Gentry (eds.). Managing Forest Carbon in a Changing Climate. Springer. doi:10.1007/978-94-007-2232-3
Covey, K.R.¹, Campbell R.W. (2010), “Castenea dentata”, A. Roloff, H. Weisgerber, U. Lang, & B. Stimm (eds.) Enzyklopädie der Holzgewächse. Weinheim, Wiley-VCH. doi:10.1002/9783527678518.ehg2011003
Other Publications
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A Museum Roundup & The Gober Show
It's Pablo-Matic: Picasso According to Hannah Gadsby @ Brooklyn Museum
The Manhattan Art Review's Best & Worst Art Shows of 2022
KIRAC Episode 25, Male Love
The Painter's New Tools @ Nahmad Contemporary, Manhattan @ Claude Balls Int
Art and Money
Why Does The Whitney Biennial Suck So Much?
Jasper Johns
The Manhattan Art Review's Best & Worst Art Shows of 2021
A Response to Eric Schmid's Press Release for Henry Fool @ Triest
The Rules of Appropriation; Liz Magor, For Example, Liz Magor @ Andrew Kreps
Cézanne Drawing @ MoMA
The Aesthetics of the Refusal of Aesthetics, Sara Deraedt @ Essex Street (2016)
Cameron Rowland @ Essex Street
Paul McCarthy and the Negative Sublime, Paul McCarthy @ Hauser & Wirth
The Manhattan Art Christmas Movie Review Special: Notes on Eyes Wide Shut
In Search of the Worst Painting on the Lower East Side
Isa Genzken @ Galerie Buchholz, Art Club2000 @ Artists Space, Jef Geys @ Essex Street
Josiane M.H. Pozi @ Gandt
Eric Schmid @ Triest
Magnus Peterson Horner & McKinney @ Gandt
Gerhard Richter @ Marian Goodman & Lise Soskolne @ Svetlana, Park McArthur @ Essex Street, The Cleaners of Mars @ Reena Spaulings - Addendum: Notes on Psychedelic Art
Jana Euler @ Artists Space
Concerning Superfluities @ Essex Street vs. Georgie Nettell @ Reena Spaulings
Alex Da Corte @ Karma
Florian Pumhösl @ Miguel Abreu
Robert D. Scott @ The Middler
The Manhattan Art Book Review
Michael Krebber Catalogue Raisonné Vol. 1
Lillian Paige Walton - Meter-Wide Button
Emily Segal - Mercury Retrograde (The Question of Coolness)
Theodor Adorno - Aesthetic Theory - *****
Andrea Fraser: Collected Interviews 1990-2018
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TMAR Worldwide
The Disaster of the Subject by Philippe Lacoue-Labarthe (trans. Dylan J. Taylor)
Three Painting Shows by Simon Smith
Vertigo of Color: Matisse, Derain, and the Origins of Fauvism @ The Metropolitan Museum of Art by Scott Newman
Look Again: European Paintings 1300-1800 @ The Metropolitan Museum of Art by Troy Sherman
Two December Reviews by Scott Newman
TMAR Worldwide, The Introductory Reviews by Troy Sherman, Simon Smith, Quin Land, and Scott Newman
Amalia Ulman's El Planeta by Almog Cohen-Kashi
The "Worst" by Almog Cohen-Kashi
The Manhattan Art Comic by Andrew Newell Walther
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Kritic's Korner
Key
***** Great
**** Good
*** Okay
** Bad
* Awful
6/15/2024
Pat Passlof - Authors & Poets, 1999-2000 - Milton Resnick & Pat Passlof Foundation - ***(.5)
These variations on the vertical stripe make for quiet, relatively subtle abstractions, but even with the benefit of the doubt they don't manage to get all the way past the staid side of sedate. Alice is comparatively extravagant for alternating between thin lines and large barber pole stripes, and details in the others eventually start to catch the eye like the mottling in Emily Dickinson or the green outlines of the dark blue bars in Gertrude Stein. Still, they're undeniably a little dull. With the exercise of naming paintings after authors and the formal pretexts it's clear she was using metaphor and iteration to explore ways of staying interested in painting 40+ years in. Keeping invested is one of the great challenges of making art, and I think it was working for her even if it takes an effort for the viewer to share her interest. Plus .5 with the addendum of the slight but charming collection of her drawings from the late '50s of their pet bird Morgan (named after J.P.) on the third floor.
Susan Cianciolo - Light Workers - RUN 15 - Game of Life - (Thank You Pine Trees) - Bridget Donahue - ***.5
I was on Instagram in 2014, so I remember vividly when Susan was the hottest thing on the block. She's still got it with the hippie spiritual/Romanian peasant patchwork thing, and the watercolors and wall hangings are nice, but this feels a little withholding if only because her work used to seem like it was bubbling up endlessly from an infinite wellspring. I really like the sculpture in the front made out of wood blocks on some tables and chairs, but my reservation is with the clothes themselves. Even though she was a (the?) progenitor of scrap fashion and a lot of the outfits on display were made before that style got completely, utterly done to death, random junk and little bits of fabric attached to scrappy cheap clothing just doesn't hit like it used to even if it's not her fault.
Nate Boyce - Discipline - Lomex - N/A
I've spoken too much with Nate about this body of work to judge it with adequate critical distance, but the video (and projection setup) looks great in person, and the Webern by Gould sounds great.
Raphael Egil - Ground Speed - Yve Yang - **.5
He's hitting all the painterly notes: Classically-informed Cézanne reference, self-portrait, landscape, still life, loose, gestural abstraction, willful inconsistencies of style, large canvases next to very small canvases, etc. He's not untalented, but his self-aware sifting through different modes as modes is so transparent, all so many disinterested decisions that can be exchanged equally with any other, that he throttles any possibility of doing anything with his paintings outside of articulating that he's aware of what he's doing. Very Swiss, I think. Intelligent, but managerial and a little bloodless, every decision thoroughly catalogued and considered but fundamentally incapable of any real risk-taking. Selbst 2 comes the closest to overcoming that feeling of distance, but I'd guess the general impression is an accurate reflection of the artist.
6/13/2024
Liz Magic Laser - Art Handling: An Installation Play - Luxembourg & Co. - ***.5
This whole thing is weird from every angle; the ostensible content is a play that occurred in the space in May, documented in security camera footage that is projected in the space, but it's also a group show with an Oldenburg (a fantastic soft light switch), a Rauschenberg (a screen door with inner tube, railroad track, and electrical cord from his Venetian series), a couple artworks about gold, some vases, the permit forms for the performance, a table of power tools and art handling supplies, shipping crates, a glass cube on a pedestal, an "invisible cube" (a square on the floor), two older Laser films, and a couple spiky metal things. The spiky things are by Lygia Clark and I think the gold pieces are by Gino De Dominicis, but I'm not sure which did the invisible cube or the vases because the press release, a pamphlet imitating Playbill, doesn't list the works and artists together. In spite of the work by other artists there's nothing to suggest this should be categorized as a group show, because it's actually a play. The play itself seems to have taken place from 11am to 7pm on May 11th, but the footage I saw mostly consisted of the regular mingling at an opening, I guess during an intermission, until the performers started listing their art handling credentials and removing the painter's tape from the invisible cube. The classic recursive conceit of "a play about making a play" being transposed to the drudgery of installing art is lightly funny and it successfully destabilizes the clean categorization of what the show "is," but the tongue-in-cheek theatrics of the performers pretending to fret over the details of the installation or standing around with a clipboard self-seriously is all a little too pointless to amount to much more than a gag. Still, even if it's meta performance art by rote, it does serve as a welcome reminder that deconstructing the conventions of art installations is an exercise that's fruitful and all too rare.
Maria Lassnig - Drawings - Petzel - ****
Everybody loves Lassnig so there's not much that needs saying, but what's striking in these is the persistent singularity of her figures and forms. Every cartooned hand and mangled face is unburdened by any stylistic referentiality to the point that they feel entirely self-sufficient and autonomous. That quality makes me think of Picasso, although there's not really any resemblance and he doesn't subvert history as much as he pummels it into submission. Rather it's the apparent outpouring of "style," the inimitable quality of form that occurred whenever either of them started drawing. Her formal singularity makes the drawings too consistent to meaningfully differentiate between them, which isn't to say they're repetitive, just that she's always good. But you already knew that.
Ker-Xavier Roussel - Michael Werner - ***
Unlike the better known Nabis, you can immediately detect that Roussel's sensibility was old-fashioned and a little reactionary for his time, sort of like the untimeliness of Puvis de Chavannes; whereas Bonnard maintained an Impressionist sensibility through the 1940s, Roussel seems to have had more of a taste for academic neoclassicism that was already dated circa 1900. That affection didn't extend to technique, though, so his worn-out woodland nymphs are counterbalanced by an impulsive indifference to finish and an experimental approach to handling and color that stops them from becoming complete kitsch. In a few moments his fantasized classicism and technical roughness produces an uncanny anticipation of the kind of painting you see from contemporary artists that want to revive the premodern without forfeiting the modern (i.e. more than a couple Werner artists), but for the most part he's a forgotten European painter that's a second-rate artist and a first-rate curiosity. A footnote that doesn't deserve more or less attention than he's received, but peculiar enough that his work is worth seeing.
Robert Cottingham - Robert Cottingham's Americana (Works from 1965-2018) - Fleiss-Vallois - **
Hm, no, boring. Photorealism often tends towards a stifled verisimilitude that renders it more stiff and airless than a photograph of the same, which is to say I'd prefer photos of old signage. That he puts so much work into painting such an invariant subject just emphasizes that there's no real point in him going to all of this trouble, but I guess that used to be considered interesting at one point?
Jean Dubuffet & Allan McCollum - Galerie 1900-2000 - ***.5
Very funny, the two go blow-for-blow with works that consist almost entirely of dots and texture. These Dubuffets are far from him at his best, but the stubborn insistence on pure granularity is beneficial to both parties by doubling down on the mutual absurdity of each.
David Ostrowksi - Parliament - Sprüth Magers - ***.5
I dismissed his Ramiken show out of hand, but there's a lot more going on in each of these than there was in any of those. I assume, due to the relative stature of the galleries, that he put more work into this one. The flat variations between realistic and cartoonish, sparse and dense, the interactions between each figure in each instance, etc., succeeds in evincing an eager levity that suggests the work was fun to make. More importantly, owls are always fun to look at.
Ray Yoshida, Christina Ramberg, Deborah Druick - Bodies - David Nolan - ***
Ramberg and Yoshida's sketches and occasional paintings of bodies are lively by way of stoner doodles, one of Nolan's key stylistic preoccupations. Druick fits in by the metric of surface signifiers but she's the ugly duckling: actual ugliness is fine in this wheelhouse, but her figures are stiff and repetitive instead of iterative and exploratory, which is not fine in this wheelhouse.
Jutta Koether - 1982, 1983, 1984 - Galerie Buchholz - ***.5
This early work is very scrappy, even borderline crude and indistinct, and it isn't a high point of an artist's brilliant burst onto the scene but the great expectations of a promising artistic long game. They're interesting to see within the context of her later paintings, but aside from the one in the press materials and the relatively large one on a muddled cream background with an inscrutable composition of a black v-shape and three vertical lines (there's also a drawing of the same but upside down) they aren't particularly compelling. The press release emphasizes her relationship to the music magazine SPEX at the time, and the DIY countercultural context is clarifying. Approaching painting as an elemental, stripped-down procedure, like the "bare bones" of punk or folk music, making small paintings in her room, building her artistic sensibility from the ground up, operating off of little more than instinct and hard work. This sets the stage for a daunting task of artistic development, of laboring to find a way of making art when the tools haven't been handed to you. The threat of immediate success is hitting on a shallow trick and being shackled to that limited methodology forever; it's far better to take your time developing a mature approach to making art that enables perpetual depth of development and variation. A long time ago I realized that a number of my favorite artists didn't land on their personal style until later in life: Susan Howe didn't become a poet until she was nearly 40, Robert Ashley was over 50 by the time he finished Perfect Lives, I don't think Godard really hit his stride until the '80s, I think there were more that I can't remember. The tragic problem of this is the impossibility of surviving as a difficult artist today without cultural forces to encourage that difficulty, let alone a long-term development that takes decades to come to fruition. Artists barely even have immature periods in the first place these days because self-marketing is so central that an artist's sensibility has to be prepackaged and readymade from the first, and then it's not allowed to change lest a collector feel alienated by the new work looking different from the old work. Sad!
6/9/2024
Sabina Maria van der Linden - Das Letzte/The Latest - Gandt - ****
Van der Linden is a cool older Euro woman interested in aesthetic and technological futurism, in the vein of Isa Genzken or Lynn Hershman Leeson, but with a "career" more in the mold of a Chelsea Hotel eccentric, sort of like Bettina if you swapped out the '70s NYC minimalism influence for '00s Berlin digital art and fashion. The physical objects in the show (looping calligraphic drawings, bits of text in strange fonts, goofy Photoshop fantasies, drawings of a six-fingered hand, polka dot orbs) suggest only the vaguest outline of her mental universe. The main content is in her videos, which are available on YouTube and Vimeo links on the gallery website. In particular PERFECTLY YOU, a series of 50 videos mostly made in 2007 and uploaded to YouTube in 2008, posits a distinct aesthetic environment of ribbons, frilly leotards, bossa nova, artificial and idealized poses and gestures, fashion signifiers and advertisements as a language, etc. Camp, in short, but '00s camp from a middle-aged woman in Berlin, a fantasy of clean, modish '60s counterculture, of hippies as a London pop marketing strategy instead of dirty kids in Golden Gate Park. The Vimeo series THOUGHTS, CELLPHONE MONOLOGUES, AND CONVERSATIONS (or something like that, the title is inconsistent) from 2010-11 is less expansive but exaggerates the strangeness by featuring a model in fetish heels and a wig that covers her face, wearing a speaker as an accessory and writhing on a leather couch. I don't like falling back on the phrase, but the effect is surrealist, or, even worse, Lynchian, although of course the word only signifies the sense of a malevolent dream that Lynch is an easy point of reference for. Anyways, their shared creepiness is also a common effect of early DV cameras. Her own website is fun to click around on, a relic of a better time online, and all the combined rabbit holes never coalesce into something that makes sense, presumably by design. All in all a document of a true weirdo, a species that's tragically endangered, if not extinct, these days. As neither an outsider artist nor a professional, the work inhabits an interstitial space of authentic engagement of a kind that's almost impossible to imagine now. Most glaringly, why did she make this stuff? For the pleasure of it, of course, but how did she have the time and resources? The world hasn't always been so hostile to people who don't want a career.
6/7/2024
Rita Ackermann - Splits: Printing | Painting - Hauser & Wirth - ***.5
These look a lot like mid-period de Kooning if you blended his drawings and paintings together. Her signature figures are a lot more modeled, obviously, but they're mostly so obscured and scrawled that the comparison holds. The flattened translation of thick paint texture in the prints is interesting, and as far as 2024 AbEx goes the paintings are classically dynamic in a way that most contemporary painters don't have a prayer of achieving. They're also AbEx in 2024 so they're not particularly exciting or groundbreaking, but the "landscape" of abstraction breaking through the figural passages creates an effective density and motion. I don't really know her work, we'll see if her main show builds on this in any particular direction.
Melissa Cody - Power Up - Garth Greenan - **
When I looked the show up beforehand I thought the reappropriation of the swastika could have been a kind of interesting element (as it is in historical Navajo weaving), and I like the figure, but I was really just attracted to the traditional motifs; none of the contemporary digressions she introduces to express her artistic subjectivity improve upon the basic model. I was trying to get into it but I gave up when I noticed that one of the pieces reads "I am Navajo Barbie."
Michele Abeles, Sarah Charlesworth, Talia Chetrit, Aria Dean, Liz Deschenes, Sam Durant, Lucy Charlesworth Freeman, Felix Gonzalez-Torres, Douglas Huebler, Larry Johnson, Mike Kelley, Joseph Kosuth, Deana Lawson, Glenn Ligon, Tony Oursler, Hirsch Perlman, Luciano Perna, Stephen Prina, Laurie Simmons, Liu Shiyuan, Sara VanDerBeek, James Welling, Christopher Williams - Tabula Rasa - Paula Cooper - ***
Yes yes, tabula rasa, conceptual photography as reinventing art from the ground up, I get it. The problem I have with this work is its air of unmet aspirations, the innocence in believing that history can be broken with, or that the invention of new artistic signifiers will circumvent the inevitable reduction of style to commodifiable aesthetic signifiers, which isn't to say that it ruins the work. A lot of it is good, like Lawson, Huebler, Williams, Johnson, Oursler. Much of the rest consists of aesthetically pleasing photographs, like Perna or Shiyuan, but then again much of the rest is concerned with Architecture and Photography in ways that feel pretentious and impotent, at least in retrospect. Philosophical and political radicality in art is often conditional to the social context it came from, and the work of this kind that ages well more often than not does so because it succeeds aesthetically, which is to say that it doesn't break with history. I've never seen a Kosuth that made me interested enough to take the ramifications of his work seriously, for instance.
Matthew Barney - SECONDARY: object replay - Gladstone - *.5
"Muscle man stuns audiences in latest death-defying feat: smearing shit-like substance on wall, using only his own head!" I guess the Colosseum/skyline/clouds painting thing upstairs is mildly engaging, at least in comparison to the entirely uninteresting pipes and weights. God he's so fucking annoying...
Eva Hesse - Five Sculptures - Hauser & Wirth - ***.5
I was kind of confused when I saw this; of course I know that her work was groundbreaking in its time and that she died young, but I was curious to find someone writing about her work that framed her not in terms of material innovation or mythologizing. I read Robert Pincus-Witten's Artforum article that came out a year-and-a-half after her death, and even then the writing was full-blown hagiography, rapturously poring over her notebooks and scrupulously recounting each phase of her embattled life. Her life and personality was certainly fascinating and deeply fraught: A Jew born in Germany in 1936, she described the central influence of Carl Andre's floor squares as her "concentration camp;" she knew the materials she worked with would degrade but was at peace with their mortality, and the toxicity of those materials is what killed her. But there's also a sense that this obsession with biographical information is on some level a desire to compensate for her art. She didn't leave behind enough work to constitute more than a suggestion of her artistic vision; arriving at a personal style by 1965, finding maturity within it in 1968-69 before dying in 1970 of a brain tumor, she really only had two or three good years of output in a labor-intensive medium (compare van Gogh, whose mature period also spanned only five years), so it makes sense to take recourse to every ephemeral detail to fill out her picture. I'm not faulting this, just pointing out the truism that we would see her work very differently if she had lived to work for another 30 years. Anyway, the show consists of a series of pot-like sculptures from 1967, sheets of latex laying on the floor, sheets of latex on the wall, and a latex construction that looks sort of like an unfurled tank tread climbing up the wall, all from 1968, and Expanded Expansion from 1969, which looks a lot like curtains made from latex and cheesecloth. The aged fragility of the work is interesting and adds yet another later of myth and preciousness, but ultimately it's a bunch of crinkly latex. Maybe Hauser's insurance-minded austerity undercuts the biomorphic quality of the work and the selection itself is held back by being inevitably limited, but I suspect my own relative inability to see the work as more than the material qualities of the things they're made of is primarily a historical problem. The difficulty of minimalism and postminimalism in the present isn't the sophistication of the theory underpinning the art, but the impossibility of grasping the conditions of what made the work radical at the time. Putting sculptures directly on the floor instead of on plinths was a groundbreaking step for minimalists and came along with an insistence on the clean logic of industrial polish and the "grid," then Robert Smithson had his own elaboration beyond that outside the gallery with maps and geology, and Robert Morris could write impassioned pronouncements about using soft materials, etc. Fifty years on it's easy to take all of this for granted, and we have no sculptural conventions to resist or ideological manifestos to believe in. Anything can be sculpture, there's no boundaries to push, we can't be surprised or scandalized by anything, so now it's self-evident, even quaint, that artists were once so stimulated by poking around the stores on Canal that sold industrial materials. This is basically my problem with the Paula Cooper show, that the radicality of an artwork is relative to a temporal condition and is not at all inherent or guaranteed. This applies just as readily to minimalists like Judd, or, more glaringly, Andre and Buren, both of whom ran their ideas into the ground decades ago by refusing to do anything new with the ideas they had in the '60s. The real test of an artist is their ability to develop their work over time, not by slavishly adopting every fashion but by pursuing the logic of their work in different directions to avoid complacent repetition. Hesse didn't get the chance to do that, sadly, but it's easy enough to imagine she would have risen to the challenge if she had, which is part of the reason for her enduring interest. As it is these works are more interesting as a time capsule, which, to be fair, is far from nothing.
Rita Ackermann - Splits - Hauser & Wirth - ***.5
Yeah, this follows from the show at H&W Editions with no surprises, it's just more elaborated. I think they work better when the figures are less rendered, but from a purely painterly perspective they're hard to fault, particularly Noisy Feet, Shutters, and Shut Eye.
Kwoma artist, Wifredo Lam, Max Ernst, Ramu River artist, Elema artist, Abelam artist, New Ireland artist, Joan Miró, Man Ray, Yves Tanguy, Salvador Dalí, New Georgia Islands artist, Pablo Picasso, André Masson, Roberto Matta, Master of the Double Pillow (attrib.), Dorothea Tanning, René Magritte, Hans Bellmer, Valentine Hugo, Marcel Jean, Sepik artist, Kurt Seligmann, Giorgio de Chirico, Jacques Villon (after Marcel Duchamp), Turamarubi artist, Victor Brauner, Karawari River artist, Yimam artist - From the World of Dreams: Melanesian Art and a small retrospective of Important Surrealist Prints curated by Timothy Baum - Pace African & Oceanic Art - ****
As the above information implies, this a baroque little group show. I look in here out of habit so I didn't actually check what the show was and wasn't expecting a collection of Surrealist prints, which, considering this seems to be the most neglected alcove of the Pace empire, is surprisingly substantial; a solid selection of Ernsts and Mirós dominate, but none of it feels chosen at random. I guess these prints are Baum's stock in trade so it makes sense that he's something of a connoisseur, but curatorial expertise is too rare to ever be shrugged at these days. If that weren't enough, the native masks are even better than usual, particularly the towering New Ireland masks and figures.
Neil Jenney - Idealism Is Unavoidable - Gagosian - ***.5
Jenney's Good Paintings are no less tongue-in-cheek than his Bad Paintings, but the nature of their ironic detachment is somewhat harder to pin down. The presentation is already self-consciously stylized, for the most part on panels that are extremely short and wide, in exaggeratedly lavish frames with obliquely natural words and often the letters "N" and "A" (for North America) painted on them. The paintings themselves are closeups of stumps, trees, streams, clouds, and so on. An extreme depth of field is often at play due to the tight cropping of the scenes, but there's also an odd flatness created by the rigid detailing that's applied equally to foreground and background. All these elements of distanced self-awareness combine into a strangeness that's reminiscent of nothing so much as good children's books, like something by Chris Van Allsburg. That's interesting, even distinctive, but in the end it comes down to an illustrative preponderance of style that reduces its natural subjects to arbitrariness instead of the specificity of painting from life.
Adam Pendleton - An Abstraction - Pace - *
These wouldn't look out of place if someone was hawking them on the sidewalk down the street from the Whitney. The imposing black walls try, unsuccessfully, to obscure that.
Tara Donovan - Stratagems - Pace - *.5
Recycling, yay!
teamLab - The World of Irreversible Change - Pace - *
Are you fucking kidding me? This belongs in a Midwestern airport, not a gallery. I thought this might be amusingly bad but it's actually a full-on indictment of art and society that any money was put into making this, let alone that it's (I assume) for sale.
Joanne Greenbaum - Scaffold - Mitchell-Innes & Nash - ***
On the surface these clashing colors drawn with markers are self-evidently ugly, but I guess she's mainly interested in the "scaffolding" of form. They are structurally more convincing than the documentation might lead you to believe, which isn't to say they're not ugly.
6/5/2024
Mike Kelley - Singles' Mixer - Brant Foundation - ****
This is one of those rare artworks that doesn't posit genius as some high-minded, profound, "ennobling" force, but as something obvious and enjoyable, almost commonsensical. In other words, this is incredibly dumb, but also very funny in a way that makes you wonder why nothing is this fun anymore. Like a Fassbinder film or Paul McCarthy's Painter, it caricatures the deathly serious realities of life like masculinity, sexuality, morality, pop culture, society, entropy, etc., and subjects it to a gleeful parody without resorting to ironic condescension or mockery. I mean, it takes a deep knowledge of life to come up with a singles' mixer populated by a nerd, a hillbilly, a Kiss fan, a witch, and four black women, who proceed to discuss the sex appeal of Gene Simmons, R. Kelly, Kobe Bryant, Garth Brooks, and Brandon Lee (each represented in a kitschy painting, with Brooks, in a stroke of brilliance, staring at a single boob in profile), before the Kiss fan and hillbilly get into a fight as grindcore plays in the background. It sounds funny and it's actually funnier, because it's not playing for laughs as much as it manages to turn life itself into an existential joke. I think culture at the time was experiencing one of its last blooms before the internet ate us alive, so these things could still be invoked without immediately collapsing into the cynical self-perpetuation of empty signifiers. I mean, isn't the use of these celebrities infinitely more subtle, funny, interesting, ambivalent, and edifying of their star power than that new Charli XCX video?
Peter Hujar - Rialto - Ukranian Museum - ****
Even his earliest photos have a miraculous precision, which is most impressive in his impromptu images. The ones of farm animals are particularly striking for coming off perfectly staged and composed, and for imbuing them with all the pathos and psychology of his street photography of New Yorkers, which is his dominant mode here and where he seems most in his element. The portraits of celebrities and images shot in a studio are comparatively less impressive because that focus is more predictable and less extemporaneous, and his pictures that don't show living creatures lack the charge of those that do, although all of it is far from unappealing. I get that photos of famous people used to be more exciting when we weren't bombarded with them all the time, and I'm sure he was interested in exploring things in the studio that aren't as interesting to me, but without people (or animals) even his photos of the Palermo catacombs mostly come off like tourist snapshots.
5/25/2024
Mel Bochner - All Sales Final! - Totah - ***
I've never really gotten the whole "painting text" thing that Bochner and Wool are known for, I get the feeling that whatever once made these paintings of words radical or interesting is invisible in our current context. I mean, I like Gene Beery but he's more focused on textual humor and metaphysics, and Ed Ruscha has a more complex visual language; Bochner and Wool seem more interested in generic turns of phrase as elements in painting-as-painting while also resisting the painterly so I'm not sure what to take from it. The edifice of art in general and painting in particular has been so exploded that just about any position of obstinacy or negation now reads as a self-evident gesture instead of the critical/intellectual stance it once was. That's just to say I don't particularly see the punctum of his method, but I do like the misery and vitriol expressed in the text. "Lost Our Lease!" is a proper motto for our times.
Carl Theodor Dreyer, Ken Gonzales-Day, David Howe, Sigmar Polke, Zoe Pettijohn Schade, Rosemarie Trockel, Weegee - The Madness of Crowds - Carriage Trade - ****.5
Carriage Trade at it again with another edition of the best group show in town. Sure, The Passion of Joan of Arc is hard to beat, but for one thing, who else would put it in a group show, and, for two, who else could curate a group show that adequately fits it into the show's thesis and not just riding on Dreyer's coattails? Certainly no one else would put it next to an episode of The Twilight Zone ("The Monsters are Due on Maple Street"). But why not? It's a tragedy that only Carriage Trade would, because such leaps of associative logic are exactly what good curation consists of. Namely, bringing the apparently unlike together into something that suggests correlations that aren't readily apparent. It's not even that hard to make those connections if you're aided by a good idea, as this show is with the subject of the crowd, specifically mob rule and the vindictive retribution of a mass that has perceived a real or imagined persecution. Thus we get Joan of Arc and suburban paranoia, but also student protests (a student film featuring Martin Scorsese and Harvey Keitel, police manuals on riots), the edifices of state and authority (Pettijohn Schade's crumbling monuments, Trockel's left side of her diptych of people climbing the walls of the Capitol), the unreality of digital life (Howe's North Korean propaganda-style painting of Mark Zuckerberg, Trockel's right side of the diptych of a woman in a VR sci-fi headset), murder (Weegee's photo of a crowd after a shooting), and lynchings (Ken Gonzales-Day's unbelievable collection of lynching postcards with the victims edited out, excising the violence-porn spectacle but retaining all the horror that such things actually existed). The show presents real-life phenomena without flat didactics, which is what separates something like Trockel's painting, a measured reflection on our contemporary condition of mass hysteria and distantiation, from the insipid tut-tutting of all that anti-Drumpf art that mistakes hysterical virtue-signaling for praxis. To the extent that art is political at all it does so by representing the nuance and complexity of life instead of mere sloganeering, and it's a difficult task to articulate that. By nature it's far more ambiguous than most people are comfortable with in these times where social polarization demands constant affirmations of whichever camp one belongs to, but, like curation, if you cut corners and go for the obvious you're not likely to end up accomplishing very much.
Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, Ruben Ulises Rodriguez Montoya - Artists Space - ****
This reminds me of nothing so much as the first Artists Space show in this space way back in late 2019 (the sixth Kritic's Korner review and the first four star review), which is sort of weird because they haven't had any comparable group shows (four "relevant" artists put together without any stared curatorial theme) in the intervening four and a half years. There's a literal resemblance because Jason Hirata and Doris Guo both dominated the same room with projectors, but there's also some correlations of content. For reference, my earlier review in its entirety: "Post-conceptual lazy appropriation art is funny, Lomex 'tweaker with glue' art isn't. .5 bonus for anti-curation." Montoya definitely inhabits the "tweaker with glue" camp, assembling found objects (cheekily enumerated with diaristic details in each work's list of materials) into wannabe Giger spiky things, and it's still not funny. The attempt at imbuing significance in the objects by noting where he got them is obnoxious, and he sticks out like a sore thumb for going for a gothy surface aesthetic where the other three artists are canny enough to avoid a gauche invocation of style. The other three are thus more on the post-conceptual side, although they aren't appropriations. You could call the work lazy, in a sense, but I didn't mean that term negatively then or now; I just mean that the artists know that art has moved beyond the need to legitimate itself through craft. Maybe tweaker art implies that as well by exaggerating pointless handiwork? I don't know, that's probably a generous reading, whatever. Peck's boxes, eggs, and audio pieces (I particularly like the "song" Small Clip 1, you can listen here) repeat the forms he used at Gandt and been working with for a while now, but that's a self-conscious decision and he has the ingenuity to iterate without coming off as complacent. McGuire has three large pink banners with stars on them hanging from the ceiling and a naked "giant" made of foam lying on the ground that seems to be an overt copping of Charles Ray's style, which is nowhere near as unfortunate as Maurizio Cattelan's budget ripoff of Ray that's up right now and unfortunately near to Ray's show that's up right now, but it seems like a bad idea to step on Ray's toes lest you be judged against him. On the website there's a photo of Death of Napoleon, another sculpture by McGuire that's similar but doesn't look like a Ray and seems like it would have been more interesting, but regardless the disjunct between the dead giant and the banners is still oblique enough to work against any facile aesthetics. Last but not least are Guo's opaque projectors, wrapped or enclosed in decorated boxes and projecting inscrutable little object compositions. The gold rings and flower buds projected onto the back was seem to be the show's favorite work by a wide margin, judging by the number of Instagram stories I saw of it after the opening, and it is a beautiful image. I joked to someone that it looks like something out of a Pinterest wedding moodboard from 2010, which I didn't mean seriously, but it does convey something about what makes these projections captivating. Just about any evocation of beauty today is wrapped up in its own derivation from an aesthetic "elsewhere," a mass of signifiers that point to an idea of something else instead of to itself. That's why fashion is boring now, it's all so many references slapped on top of each other that there's no content undergirding any of it. Guo's projectors and the tableaux inside of them manage to simply be visually precious with enough distance from any point of reference that they can stand on their own without baggage, although my comment underscores that complete autonomy is never possible. The show succeeds in general on this same logic, three of the four artists are sufficiently indifferent to the trap of stylistic surface that their work manages to exist on its own.
Olivia Rodrigo & Conan Gray, Monique Mouton, Sarah Rapson, Tony Oursler, Mia Madison, ANOHNI, Charles Atlas, Clay Hapaz, Jesse Murry - she sleeps in light / we WILL save his soul - Loong Mah - ****
Okay I'm tired of writing, I think this is probably the longest update I've ever done. I went to Carriage Trade, Artists Space, and Loong Mah with a friend so I didn't take any notes which makes reviewing a lot harder, especially when the shows are good. The show is entirely eclectic and cracked, Clay Hapaz (whose painting in the show is charming) curated the show and he spent three months installing it, which is crazy on the level of logistics, willingness on the part of the gallery, dedication on his part, and probably a few more levels I'm not thinking of. It's suitably packed with ideas and earnestly eclectic; aside from the Olivia Rodrigo and Mia Madison covers of a Katy Perry song playing on iPhones, there's newspaper clippings and old news broadcasts about child abductions, Bible verses, and those great Tony Oursler face projections onto dummies, not to mention Rapson and Atlas. Anyway, I've been working on this update for almost a week and I just remembered I don't get paid for them. Please consider donating!
5/24/2024
Matthew Gasda - Morning Journal - The Brooklyn Center for Theatre Research - ***
I know next to nothing about theater, much less contemporary theater. I've read some books by Richard Maxwell and I think he's great, but I only saw one play of his in a hotel room in Portland almost a decade ago and watched a couple of his plays when they were available online during the lockdowns, but the old camcorder recordings weren't very digestible. Other than that I like Shakespeare, I've read some Beckett, Wilde, Brecht, I liked the movie version of A Long Day's Journey Into Night, and a couple other things here or there, but I wouldn't pretend any familiarity with the medium. I was offered a press ticket to this and accepted mainly because my boredom with galleries has been getting excruciating lately, which isn't to say I had low expectations, just few. I know Gasda's name, I heard about Dimes Square like everyone else, I vaguely recall hearing about Zoomers, and I've glanced at his Twitter and Substack, but fundamentally I didn't have any real notion of what his plays were like except for the on-the-nose topicality and the presumption that there was some ideological connection to the Dimes Square social world. But Morning Journal isn't particularly topical and it doesn't have any discernible interest in scenester posturing that I associate with Dimes Square, which is a relief, but it also begs the question of what it actually is concerned with. The play is structured as a series of seven vignettes with six separate pairs of actors (the first pair returns for the seventh scene) that cycle through various interpersonal dynamics. The opening scene consists of a woman coming to catsit for another woman who's taking a trip for her father's funeral; their interaction fluctuates from tense to confessional and back because the latter's ex-boyfriend recently left her for the former. The second pair consists of female friends navigating their drunken hookup from the night before, the third is a straight couple having an argument, the fourth female friends that smoke weed and argue about their poorly matched personalities, bickering sisters in the fifth, and the sixth is a straight pair that hooked up the night before (the man is implied to be the same man discussed by the first pair, but it's years later). There are recurrent lines, props, and subjects that crop up in different arrangements throughout: yoga, smoking, sitting on a fire escape, hiccups, a cat, classical music and piano playing, a coffee table book of Medieval art, the titular journal, coffee, the idea of being someone else, and the general themes of sex and intimacy. More importantly, by the second scene, aided by the large zodiac wheel prop in the background and the twelve actors, I realized that each character's personality corresponded to an astrological sign. I tried to guess who was what (I'm from California) but it's never overtly acknowledged and I'm not certain if there's a clear sequence or not, although I'd bet money that the bickering sisters are a Leo and a Virgo. All of this is to say that the play feels like a formalist exercise, almost à la Oulipo, perhaps as a strategy to move away from the overt timeliness of Gasda's earlier plays and, while I'm all for formal experimentation, the conceit feels less like a means for literary inquiry than a pretext for writing a play without a subject. The astrology archetypes standing in for characters and the brevity of each scene makes the self-consciousness of the construction explicit, so there's not much to grasp aside from the form. The duo from the first and last scene aren't as reducible to types as the rest, but the format is so elliptical that they only start to suggest fleshed-out characters before they disappear. This is an ungenerous complaint, to be sure. I'm well aware of how hard it is to get out of the pit of literary self-reflexiveness to write something that "means something," and also firsthand the difficulties of developing your practice from the ground up outside of an institutional framework/tradition. I should hasten to add that the play was perfectly competent; the actors were well-practiced as far as I could tell and the dialogue never made me cringe or roll my eyes, which is impressive for contemporary writing. But the moments of humor were mainly derived from imitations of generational patterns of speech that didn't amuse me as much as it did the rest of the audience (saying "damn" as an anticlimactic expression of sympathetic attentiveness, glib statements about behaving badly in romantic relationships), and, similarly, the general objective seemed to be not much more than a sense of semi-autofictional verity to life in Brooklyn. It did that reasonably well, but none of the scenes engaged me as much as my own mental exercise of guessing everyone's signs. Unlike Maxwell's New York City Players or the Wooster Group, Gasda's approach has no experimental or modernist pretensions, which isn't something I'm demanding, although I do think some engagement with more adventurous drama could be productive. If directly engaging with Beckett would be pretentious and daunting, then how about a consideration of what's going on with Maxwell's writing, or Robert Ashley's operas? Again, this is like telling someone they should simply become a brilliant genius, and in general I don't believe in telling artists how to do their jobs so I'm embarrassed to critique in these terms. Still, Gasda described the play as "crazy" in his introduction, which makes me wonder how straight-laced his influences are. As it stands, what I took to be the true focus of the whole undertaking was simply the practicalities of writing a play, assembling a theater troupe, and staging it, sort of like an ambitious thesis project in theater school. By that standard it definitely succeeds, and it's no mean feat to coordinate the participation of a dozen actors, a crew, even alternate actors, and to practice enough for a plausible air of professionalism. I mentioned the difficulty of working outside of an institutional framework because all of that would be comparatively streamlined if this was done within a conventional structure, leaving more room for the playwright to focus on his writing. There doesn't seem to be an existing system that generates any great playwrights so he's going it alone, and it's a lot of work to do it at all, let alone to do it with polish, much less profundity. I feel similarly about my relationship to criticism, and close to five years in I still think my own writing is sloppy and mostly dilettantish. In other words, I know how hard-won artistic maturity is in a world that no longer values it.
5/22/2024
Will Stovall - Kant Crisis - Ulrik - ***.5
These funny little cartoon figures bring me back to when my friend showed me Kramers Ergot in my freshman year of college, which felt groundbreaking and more or less was at the time, I think, although it got real worn out from all the Paper Rad biting over the next few years. People really liked drawing a simplified line profile of a dog wearing a baseball cap for a few years there... Anyway, in an art gallery context this style might qualify as a bit naive (and Stovall, coming from an academic background, has never shown his art publicly before), which isn't disqualifying; the benefit of an illustrative style is that it can be used as a modular vessel for ideas not strictly related to the style itself, which usually isn't the case in painting, where the form usually determines, or is, the content. The ideas in question here revolve around Heinrich von Kleist's Kant-induced existential crisis on the mediated nature of perception and another observation of his about how all the stones in an archway hold each other up. To be honest I have no idea how either relates to the artworks, except that the arch is a recurrent symbol, but in the more detailed works the lines that fill the space have an consistent rigor that feels related to the granular systems of a rationalist ontology, or even of a kind of antiquarian cosmological view like you find in Bosch, albeit on a smaller scale. All the miniaturized details have a crystallized clarity that's engrossing in the manner of airtight logical reasoning, so in that sense the work succeeds in rendering a sense of philosophy by artistic means. I think the Kleist stuff is too abstract to have any chance of translating directly into the art. I'm comparatively less sure of what to make of the works not dominated by horror vacui, but as diagrammatic compositions of simplified figures in obscure situations they're at least not beholden to any the various conventions that so many contemporary artists like utilize while telling themselves that they're unique.
Joanne Robertson - Field - Company - ***
I've noted before that I've always been confused by her paintings; they're such shameless imitations of late Joan Mitchell (there's even a diptych!) that it strains credulity to imagine that anyone sees them as anything else, and yet people seem to love her. Well, it's not really that confusing, people are friends with her and fans of her music, and earnest passion for someone's art practice is very low on the list of the most likely reasons someone shows support for another artist on social media. That's not to say they're bad imitations, they're pretty good, and in spite of the resemblance I'd buy that she simply landed on a process of decidedly no-frills gestural abstraction that therefore looks a lot like late Joan Mitchell. Maybe the color palate's too close for such a generous reading, but her relationship to Mitchell is beside the point. Robertson has a decent grasp of form and lacks the uncomfortable self-consciousness of the more academic young retro abstractionists that get shows at small Chelsea galleries, but the fact of the matter is that art is a deeply contextual medium and this attempt at pure painting can't shrug off its historical baggage no matter how indifferent the artist may be to it being read that way. The problem isn't how directly derivative it is of a single artist but that it nakedly assumes an artistic logic that's already been fully canonized and validated. There's no stakes and no risk in making an abstract painting in 2024 that could have been made any time in the last 40 years. Of course, artists are uniquely unable to find stakes and risk in their art these days, but that's no excuse. Art is hard.
Quay Quinn Wolf, K.R.M. Mooney, SoiL Thornton, Park McArthur, Jason Hirata - plus one - ensemble - **
Except for Wolf, whose work I'm not familiar with, this looks like a promising show on paper, but in this "ensemble" they're pretty insufferable. There's just almost nothing in here and the combination of all these works isn't mutually reinforcing, it's pretentious. Wolf's piece is a patch of quilted leather hanging on a stand, Mooney has two small balls used for making jewelery, I think, on the floor with ambiguous art/jewelery objects on the top, Thornton's piece is a dress made of wire and bells, McArthur's is a framed series of photos of a blank blue sign of the same dimensions of a handicapped parking spot sign placed in various locations, and Hirata's piece, Mural of a cockroach's eye, consists of two little dots kind of shaped like commas on each side of the pillar in the room. In another context I can easily imagine any of these working well, except maybe Wolf's, but here less is less because all these intersecting planes of competing intellectual art practices cancel each other out. None are contextualized enough to make their intended functions clear, and the presentation is so unremittingly hermetic that it's more likely to provoke a roll of the eyes than further investigation.
Lauren Quin - Logopanic - 125 Newbury - **
I guess I sort of get her market appeal, or at least I get it more than I thought I would. There's a formal dynamism that does feel somewhat akin to Pollock, almost to a literal degree on the top-level splatters, and the density of layering operates on a similar level of optical confusion. But it's all a garish, commercial post-digital Pollock that proliferates all these techniques of monoprinting and scraping and whatever else to appear new on the surface to deny the fact of its recapitulation of pure visuality that panders to the market and doesn't challenge anything, no matter how fucking ugly these paintings may be. And that's the thing; once you stop poring over the chaotic little details and thinking about the techniques and step back to look at the whole, they're absolutely, gut-wrenchingly hideous!
Tarwuk - Good night, Ernst Toller! - Matthew Brown - ***
These two are certainly good at mining their particular vein of Euro whimsy eclecticism, and the scale of the big paintings connected by a frieze in the back is pretty impressive. I could rattle off a list of a dozen artists that wish they could do this fantasy world escapism stuff half as well, but I only appreciate this relative to them because the whole notion is still nostalgic and juvenile. It's a decadent pileup of signifiers, Baroque Deco Surrealist Nouveau Renaissance Giger Balthus Grosz Dix, etc., like an overpriced sandwich that justifies the price by stuffing it with fancy ingredients that it doesn't need. I'd prefer some fresh bread with good salami and butter.
Trey Abdella, Rita Ackermann, Barbara Bloom, John Cage, John Currin, Nancy Dwyer, John Currin, Louis Eisner, Tomás Esson, Ravi Jackson, Lisa Jo, Martin Kippenberger, Colette Lumiere, Mathieu Malouf, Charles Mayton, Jeanette Mundt, Francis Picabia, Phillip Pearlstein, Jason Rhoades, Anita Steckel, Marika Thunder, Kyle Thurman, Christopher Williams, Lisa Yuskavage, Leah Ke Yi Zheng, Claire Lehmann - Everyone Loves Picabia - David Lewis - ***.5
I could be totally wrong, but I get the sense that everyone loving Picabia is a relatively new thing. His brutal nihilism is something harder to swallow, or harder to intellectualize, valorize, and utilize than Duchamp, but, now that the world is in such a slump that it's essentially impossible to wholeheartedly believe in anything his indiscriminate love of chaos fits us like a glove. The handful of his own works are a well-chosen sampling of the wilder side of his range (I like the big shadowy one in the back a lot, which isn't in the web documentation for some reason) and is actually shockingly successful at laying the ground for an erratic and otherwise middling group show synthesizing into a logically illogical whole. On the one hand the resolutely austere and polished artists like Williams and Pearlstein are recontextualized to emphasize the surreal and comical sides of their work that are usually quietly subtextual, and on the other hand even the work that I'd usually hate like Trey Abdella's sloppy-photorealistic icicles and fingernails or Lisa Jo's exceptionally mediocre abstraction get swept up into Picabia's gleeful morass and make me accept them as welcome components of the churn. Barbara Bloom's corner photo is particularly appealing, the Kippenberger isn't great, and Ravi Jackson's Lil' Kim piece is still so blunt that it sticks out to bad effect, but in general I'm stunned at how infectious Picabia's amused indifference is. His influence is definitely infernal, and not to be taken lightly.
Morgan Fisher - Three New Paintings, I Mean Six - Bortolami - ***
You've gotta respect an old guy still clinging to formalist/structuralist modernism today, and his "innovation" of see-through reversible paintings is mostly impressive for implying the extent of his own stubborn insistence on negation because they're rigorously avoidant of any pictorial interest. I've seen most of his films so I know his whole thing is approaching his work so self-reflexively that it approaches tautology, and I find his OCD endearing even if the work isn't "enjoyable." Turning Over is all but impossible to see but I caught a screening of it over a decade ago and it was one of my favorite in-theater film experiences, it reorients all his absurd rigor from an alienating intellectualism to a charming neuroticism. It consists of him driving in circles around Twin Peaks in San Francisco with the camera focused on the dashboard while he excitedly rants about his fixation on making a film of his car's odometer turning over from 99,999 miles to 100,000, how worried he was that it would turn over while he was driving up from Los Angeles, scrambling to find a camera he could borrow in the city, how disappointed he was when he couldn't film when his last car turned over, etc., until it turns over. It's funny.
SoiL Thornton - Painting, The Shorter of the Longest (The Journal) - The Journal Gallery - *.5
A painting of two flowers, a painting of a black clownfish, a grid of wood blocks, and a painting of some concentric circles. It's clear that SoiL plays with the medium of painting for their own pleasure, but it's less clear why anyone should care. It occurs to me that what separates SoiL's old work from their newer mode is that there's now no sense of searching, struggle, or even plain exertion involved in their ongoing exploration of freedom in art. Clearly, they consider such effortlessness to be a positive attribute, which probably has something to do with concurrently being in two group shows here and two solo shows on each coast, but backtracking to painting after a transition into sculpture only to put out your most unimaginative paintings to date doesn't suggest a progressive inquiry or art's intrinsic plenitude. It suggests the self-satisfied decadence of an artist who has started to take their own brilliance for granted, which is one of the surest ways to lose track of what's good in your work. Schnabel comes to mind.
Ernie Barnes - In Rapture - Ortuzar Projects - ***
His hyper-mannerist exaggerations of motion and posture, mostly oriented around sports and dance, are certainly done in a style all his own, although he's so zeroed-in on the rendering of muscular activity that you could fairly accuse him of having a limited scope. Still, I'd much rather a one-trick pony to all the no-trick ponies in the world. It's funny that they took down de Jong's billiards paintings and put up Barnes' billiard paintings in the exact same place after I called it a neglected genre.
Julian Kent - Drama of Silence - Kerry Schuss - ***.5
His figures look a lot like those old Squigglevision TV characters used towards modest and surprisingly literary ends, as a supplementary text clarifies the quotidian scenes of a man sitting at a piano is Glenn Gould from Bernhard's The Loser and a couple with red boots comes from The Brothers Karamazov. Other pieces are titled after songs by Nico, Swans, and Slowdive, which is all pretty good for a self-taught 22-year-old these days, although that background only serves to clarify that, at least to Kent, there's more going underneath the surface. The people are painted with thick stripes of impasto, which may not be strictly necessary except as a signature move, although they're surprisingly evocative considering their aforementioned cartoonishness and their blank facial expressions. The really winning attribute is the vivid, almost tactile solidity of his objects and details, like the thick outlines delimiting clothes, or a lamp, or a reflection of an object in a mirror. The first impression of humble, unadventurous figurative painting isn't wrong, but there's an earnest directness and simple imbuement of feeling throughout that only comes from the kind of talent that can't be taught.
5/11/2024
Yves Klein - Yves Klein and the Tangible World - Lévy Gorvy Dayan - ***.5
My instinct going in was that I wouldn't like this; Klein's blunt force approach makes him into nothing so much as the first street art hypebeast, i.e. someone who mistakes their stupidity for profundity. Blue, women, spray paint, fire, rinse, repeat. It's certainly pretty idiotic, but it's also startling; his crudity and his "manual screenprints" of women at first seem to anticipate Warhol, but it leapfrogs over that and feels closer to something like the knowingly overbearing insistence of someone like Kippenberger. The spray paint in particular feels a good two decades ahead of the curve, and when he's trying to use the female form to capture the female form on canvas it's mostly effective. But then the purely abstract ones are just bad automatic paintings, the interactive sculpture has the misfortune of being an interactive sculpture, and the fire ones kind of suck. He may have been far ahead of his time, but that doesn't mean he was a genius. Being this far beyond your peers is most often a sign of being a really obnoxious person, or worse. Carlo Gesualdo pioneered chromatic composition two centuries before anyone else, but he was also, you know, a psychopath and a murderer...
Richard Diebenkorn - Figures and Faces - Van Doren Waxter - ***
Mostly early Dieb in his figurative mode, Two Nudes, the nude in a room, and the two of his studio are engrossing, but other than that they're pretty conventional studies. Studies by a talented artist, to be sure, but they're studies. I saw some of his better-known works at Sotheby's earlier and that puts these in a desultory light.
Anselm Kiefer - Punctum - Gagosian - **.5
I can't take Kiefer's heavy-handedness seriously. Ooh, it kind of looks like the rubble of Germany after the war, I'm so scared!! His photography doesn't lighten him up, it just forfeits his use and abuse of scale which is his main strength and his main self-indulgence. The PR tries to make a big deal of this being an unseen element of his practice, but when an artist this pervasive has a body of work he hasn't exhibited it's probably for a reason. And for god's sake, leave Barthes out of it, I like him fine but it's 2024, stop talking about Camera Lucida, please... I was preemptively going to complain that they left out Kiefer's Occupations series (photographs of him doing the Nazi salute), but what do you know, they didn't.
Stanley Whitney - By the Love of Those Unloved - Gagosian - ***.5
He's definitely a good colorist, but the square format is so monotonous that I have a hard time believing that anyone is really passionate about these. I prefer the smaller ones, but the devout repetitiveness I see as the downfall of many minimal artists (I've had similar reactions to Judd and Marden and probably some others in this same space) seems to be his intended starting point.
Jean Dubuffet, Alberto Giacometti - Dubuffet x Giacometti - Nahmad - ***.5
The tiny Giacomettis are fun and the Dubuffets are mostly strong early pieces, particularly the sculptures, but it's far from an inspiring survey.
Carl Andre, Alexander Calder, John Chamberlain, Beauford Delaney, Sam Francis, Philip Guston, David Hammons, Hans Hofmann, Willem de Kooning, Franz Kline, Jeff Koons, Lee Krasner, Joan Miró, Joan Mitchell, Jackson Pollock, Mark Rothko, Kazuo Shiraga, Frank Stella, Sturtevant, Mark Tobey, Bradley Walker Tomlin, Andy Warhol - Spring Fever - Mnuchin - ***
Two of the three de Koonings are great, the Warhol self-portrait is eye-catching, and the Pollock with cut-out figures is a mind-bender. I can't believe a work that unique in his oeuvre is sitting around on the market?? If I'm indifferent to the rest it's because I've seen most of it here already. Even if I haven't seen that specific Kline or Tobey, in this setting it feels like I have.
Wayne Thiebaud - Summer Days - Acquavella - ***.5
Wayne has to be the most sumptuous painter of surface of all time, his cakes and ice creams are just undeniable. It's basically impossible to find paintings anywhere that are this decadent, but his Greatest Hits really are his greatest hits. Everything else is second string or third, the towering beach hotels and cabana bars are interesting but they're dwarfed by the perfect flatness of the surfaces of his diner counters, the vivid peek of color in their shadows, etc. He's far from bad otherwise, but the food was his only moment of genius as far as I'm aware.
Enrico Baj, with additional works by Richard Artschwager, Hans Bellmer, Kerstin Brätsch, William Copley, Jean Dubuffet, Marcel Duchamp, Nicole Eisenman, Asger Jorn, Martin Kippenberger, Jonathan Meese, Francis Picabia, Man Ray, and others - David Nolan - ****
Baj seems to have been a weird guy with some cool friends; his felt generals and tasseled ladies are very funny but the show is definitively bolstered by everyone else, which is fine. Aside from being a lot of good work by more famous artists, it also conveys the enviable social world he moved in and contextualizes the logic he worked under. He knew Jorn so he knew about the Modifications overpainting series so he riffed on it, etc. I was surprised that the Eisenman had caught my eye when I looked at the checklist to see who made it, but really I liked everything on display. There's a collective feeling of inventiveness and an actually convincing sense of fun running throughout the selection that discourages any acute criticism. I'll take that wherever I can get it.
Moyra Davey, Justine Kurland, Shala Miller, Alix Cléo Roubaud, Carla Williams, Francesca Woodman - Forks and Spoons - Galerie Buchholz - ***.5
This is a curatorial project by Davey tying together these confessional proto-selfie female photographers, and the continuity between them all is impressive. Moyra's poet-adjacent vocal affect in the video is hard for me to take, doubly so because everything she says is straightforward narration that doesn't go in-depth enough to make it feel truly informative, but the video seems more intended to frame the photography than to be seen as an artwork in its own right. The photographs are all pretty good, although to be honest I think a Woodman-Roubaud duo show would have been better. If all these artists converge on a certain methodology and investigation of embodiment that seems mainly due to the fact that it was a pretty easy format to fall into given the context of a shared gender, medium, and broad era (everyone was born in the fifties or sixties except for Miller), and Woodman and Roubaud are definitely the visionaries of the group that pioneered what is now an identifiable style. Then again, I inevitably can't pretend to relate to these images or find them psychologically accessible to my perspective, and if I did I might relate differently to the cumulative point of view shared between them. Woodman's photos are naturally overshadowed by her far larger Gagosian show but that's a coincidence, not a criticism. Speaking of coincidence, I recently saw Jean Eustache's Alix's Pictures, which I thought was pretentiously French even by my standards, but I like Eustache enough in general that the connection is edifying and I was impressed by Roubaud's photos before I realized she was the same Alix.
5/4/2024
Allen Ruppersberg - 25 Ways to Start Over - Greene Naftali - ***.5
A nostalgist letting it all hang out, a guy who "was there" showing off that he was there without gloating because he cares more about poring over his own precious memories than trying to convince others that things were different back in his day. The jigsaw pieces with pulp novels, Allen Ginsberg, Rimbaud, Avalanche, etc., are forthright enough that you have to respect him cutting through the crap and just scrapbooking stuff he likes, but the wall print of the VHS boxes is what makes it for me. Take for instance The Birth of a Nation over Jesus Christ Superstar with Pi underneath it and A Nightmare on Elm Street 2 not far off, the whole creates a free play of high and low culture alongside the inevitable humor of apparently random juxtaposition that's infectious beyond any pretension or nostalgia or cultural grandstanding. What it really replicates is the now-extinct feeling of looking for a movie at Blockbuster, where you had to judge a movie by its cover and you could wind up walking out with just about anything, a sense of bountiful possibility of cultural discovery at your fingertips that you really can't get online. It's hard to imagine anyone not having a good time looking this over and recognizing everything they know or don't, though I guess this is foreign territory to people who grew up in the digital era.
Martin Eder - DETOX - Marlborough - **
Um, wow, okay, this is an interesting note for Marlborough to end on. I knew this was going to suck, but I wasn't prepared for this level of self-indulgent stupid obscenity which, to be clear, makes it better than I was expecting. Well, "better." I guess budget digital clouds and graphics that might have come off as novel in a rap video a decade ago (like the title and artist's name on the wall) might be aesthetically pleasing to someone, and the kittens, Suicide Girls-ish smutty nudes, and camp Jesus imagery might be considered epically ironic to someone else, or maybe the same person. But my guess would be that he's attempting to go beyond that into a meta-irony where its own badness and social depravity become the subject matter, but there doesn't seem to be enough going on beneath the surface to pull that off. I'll admit that the one of a woman unzipping a man's pants to reveal an erect kitten is witty, but the rest is just porn-brained abjection.
Francis Bacon, Lucien Freud - Bacon and Freud: Conversations - Marlborough - ***
Yeah I dunno, a bunch of prints from each in their respective idioms that they churned-out like dutiful workhorses, nothing special. I like Freud's copy of Chardin and Bacon's piece after Ingres, but that's because they needed to copy another artist to introduce some compositional intrigue. Nothing against the talents of either artist, it's just these Marlborough upstairs shows always tended towards minor artworks by major artists.
Sherron Francis - Splash of Serenity, 1973-77 - Lincoln Glenn - ***
Post-Rothko color field-y, toning back the heroic brushstroke materiality of the previous generation but still not quite composing images in any conventional sense. Some are successfully quasi-Rothko (where, for instance, many artists have failed to be quasi-Mondrian) and a couple have a slightly neon palate that I imagine was futuristic at the time, but a few more are palpably just some splatters on canvas.
John Bradford - All The World's A Stage - Anna Zorina - ***
Theater-goer classicism brought out of the cobwebbed pantry of history into the present by an extravagantly wasteful impasto. The rendering of the spotlighting in some of the stage scenes is surprisingly delicate and the painting of the full orchestra introduces a formal complexity by the practical fact of its density, but the rest land somewhere between inoffensively pleasant and boring.
William Eric Brown, Sophia Chai, Kevin Landers, Brittany Nelson, Shaun Pierson, Gonzalo Reyes Rodriguez, Sheida Soleimani - Tiptoeing Through the Kitchen, Recent Photography - Luhring Augustine - **.5
Mostly hyperreal contemporary photography, apparently motivated mainly by the urge to convey a sense of digital unreality by non-digital means. As such the byproducts are technically impressive, but since their effects end up in the familiar realm of digital artifice anyways the impressiveness is only technical, not artistic.
Terry Winters - Point Cloud Pictures - Matthew Marks - ****
Winters is sticking to his bitmap vortices, or whatever you call them, surprising no one. He's not going for surprise, though, because his scientific map (but not quite) impulse meets his spiritual mandala (but not quite) impulse at the crossroads of his rough but exactingly intentional technique to end up at the point of something that feels timeless. The blobs and bulges activate the eye, as they say, in a way that's neither new nor old, it just manipulates the fundamentals of the experience of looking at a painting to force you into paying attention. As he says in the press release, his painting has the objective of "opening a fictive space or a lyrical dimension," which is exactly right and plenty of content for him to keep exploring indefinitely, and for us to keep looking at them. He's definitely refined the three-dimensional quality of his dots in comparison to his 2021 show, but, if I had to quibble, that show had a little more compositional piquancy.
Amy Sillman - To Be Other-Wise - Gladstone - ***
I saw a bunch of photos from the opening on Instagram the night before and wondered what my misgiving was, but as soon as I walked in I figured it out; this feels like student art. I don't mean that as an insult but as a designation of a particular tendency, specifically that the pedagogy of contemporary painting (when it's worthwhile, which is seldom) consists of breaking down and systematically thinking through all the requisite components of the act of painting, which demands so much thought on the artistic process that it's creatively paralyzing. To generalize, artists need to develop a competence and familiarity with their working methods so that they can focus on the end result of what they're doing. I think art school is an important part of the dialectical process of developing competence: you go to school because you like making art, you learn stuff and get too caught up in your head and lose touch with what you like about making art, then, hopefully, you find a way to integrate what you learn with what you like after you graduate. These paintings feel to me like they're caught up in the breaking down of painting without the building back up, I assume because her career as an educator has brought that tendency to the forefront. Her painterly inputs are so diffuse that there's no clear output, no fictive space or lyrical dimension, like spinning the wheels of the aimlessness of painting as its own virtue, which results in, of course, something like Cubism without the edge. The first two paintings that you see as you enter the space have some formal heft behind them, but the rest mostly deflates into the purely academic.
Charles Ray - Matthew Marks - ****.5
Two dead guys is Ray doing what's expected of him, which is fine. 8FLU100 (a shockingly detailed small paper sculpture of a crashed station wagon) and Everyone takes off their pants at least once a day (a giant woman putting her pants on made of handmade paper) are exquisite, jaw-dropping sculptures with a kind of potency that's easy to forget art can provide these days. These are easily the best new artworks I've seen this year; brilliantly conceived as naturalistic, contemporary, and lightly novel subjects, sublimely technical, and visually captivating. I'm almost at a loss to say what it is that makes these so impressive, but it seems to come from the perfect calibration of the subject matter. The car is wrecked, the woman is caught in the middle of dressing in a banal, unsexualized way, they're not too literal nor too classical nor too much of anything at all, they just are. It's exceedingly difficult to find a way to present images without any pretexts or references in their own plenitude, but these manage to be something with the near-complete vibrancy of things in themselves. I even find myself rethinking my response to his Met show from a couple years ago where I dismissed the humanism of the wall texts and emphasized the cold artifice of his sculptures. Much of his older work does have an uncanny distance, but his late work has, if not a warmth, a radiant specificity that's much more complex and inscrutable than the weirdness of mannequins. I don't feel capable of articulating what it is that makes these so good, and if that's rare it's only because art is seldom as powerful as it can be. One of the very few modern masters.
Jordan Belson - Hidden Formation - Matthew Marks - ***
Psychedelic-symbolic images that I'm sure were much more entrancing in the '60s, let alone the early '50s, but now they're mostly quaint in their overblown "sun-moon" gravitas, a lot like Harry Smith with less drug-induced erratic behavior. Perfectly nice, but these are also part of a historical lineage that died out for a reason.
Kimsooja - Meta-Painting - Tanya Bonakdar - *
Sort of like The Museum of Ice Cream if it was pretentious. I gather that's this gallery's wheelhouse, which is why I've never been here before.
Terry Adkins, Carl Andre, Lynda Benglis, Bill Bollinger, Luciano Fabro, Robert Grosvenor, Justin Matherly, Joel Shapiro, Jackie Winsor - Disparity - Paula Cooper - **
I like the Bollinger and the Grosvenor, but the crassness of the later work mostly succeeds in trivializing the seriousness of its forebears.
Maurizio Catellan - Sunday - Gagosian - *.5
Lest someone find my championing of Ray undeserved, overblown, or underarticulated, here we have a very helpful counterexample of a shit impression of Ray by a much less talented artist. The marble "fountain" is of someone, presumably homeless, sleeping on a bench and pissing. It has none of Ray's characteristic technical vividness and I imagine Catellan doesn't care about the execution at all because he's concerned with the commentary which is, I guess, supposed to be taken as subversively political, but just strikes me as crass and unfeeling. Catellan picks his subject with all the acuity of someone who shows with Taglialatella Galleries, mistaking a dick or a needle in the arm for an incisive critique of society. All the gold pieces he shot with a gun are, similarly, supposed to be saying something about something by selling for a lot of money, but self-implication doesn't work as a critique if you're just as stupid as what you're critiquing. The nicest thing I can say is that I like this space when they take out all the walls.
Karl Blossfeldt, Erwin Blumenfeld, Bill Brandt, Harry Callahan, Bill Cuninham, František Drtikol, Walker Evans, Lois Field, Philippe Halsman, Lotte Jacobi, György Kepes, André Kertész, Dorothea Lange, Lisette Model, Paul Outerbridge, Sigmar Polke, Man Ray, Larry Silver, Victor Vasarely, Edward Weston, Francesca Woodman - An Outsider's Eye - Ricco/Maresca - ****
A fantastic collection of surreal/weirdo/erotic photography where the pervasive historical distance of black and white is sufficient to make everything pictured into something alien. I'm sure the artists also had to try very hard to find that strangeness too, and the curation makes that quality seamless. The photos themselves are too various and visually appealing to warrant description, it's just a bunch of very nice pictures. Don't miss the little Man Ray show around the corner at the photography gallery where all of this came from.
Jorge Alberto Cadi, Le Fétichiste, Miroslav Tichý - Fetish - Ricco/Maresca - ***.5
Cadi's goth stitching is dumb, but the other two are pretty amazing archival documents that only just avoid being totally quotidian by being grouped together and "activated" by the underlying suggestion of perversity. Le Fétichiste is basically a budget hobbyist Helmut Newton, and Tichý's stand out for the crudity of the handmade cameras he shot the photos on.
Paul Klee - Psychic Improvisation - David Zwirner - ****
Woo yeah! This is far from a top survey of Klee, but One-eyed mask, Beat carpet orient (talk about a great title), and The policeman in front of his house are all phenomenal. Actually, the whole room to the right of the stairs is incredible, and it's not like he was ever outright bad, even if some phases are better than others. Great frames.
Joe Bradley - Vom Abend - David Zwirner - ***.5
It's interesting to see these after Winters and Sillman; in spite of his cartoonish elements, they all share a love of dots and grapple with the burden of freedom in contemporary painting. Winters has a specific purview, Sillman has intentionally avoided specificity, and Bradley has a clear style but it's so catholic in its modes and influences that it's more of a deconstruction of all the possible modes of post-virtuosity painting put through a blender, and it's only come out as a mode through its own insistent repetition. Weirdly, some of the moments of "figuration," like in Angel's Trumpet, remind me of nothing so much as Cumwizard69420 if his scatological nudes were turned inside out and exploded. I don't much like the moments of overt figures/symbols like eyes or sailboats, which upsets the pure placelessness of the prevailing effect, but outside of that it's hard to come to a decisive conclusion on the success or failure of these paintings. They seem caught between expression and negation, like he's stuck at an impasse where he's trying to indulge in something that he has a hard time believing isn't a bad thing. Certain passages of Easy Death and Occident make me wonder for a moment if these are great, but after mulling it over for a while I decided fleeting impressions of greatness mean they can't be great because it wouldn't be fleeting if they were. Instead, they're pretty good.
Julian Schnabel - Paintings from 1978 to 1987 - Vito Schnabel - ***.5
These old plate paintings make me see for the first time the overt ridiculousness of the technique as it was originally received, instead of as a dull kitsch cliché from the near-comatose imagination of an artist far too rich and famous for his own good. I mean I'm sure he's quite content, but it's made his work suffer. I'm still not that swayed by the plates in general, although Australia is a truly insane painting, but they start to work when put in tandem with all his other working methods as a testament to his hubris. Hubris isn't everything, or even all that much, but it does lead to stuff that is distinctively outrageous in retrospect, viz. Alas. The '80s death of painting was, clearly, a more fertile death than the our undead zombified present.
4/26/2024
Lynn Hershman Leeson - Anti-Aging - Bridget Donahue - ***
I'm a bit biased against Lynn Hershman Leeson because we once got into a pretty contentious argument in a Q&A maybe seven years ago; I asked a question about the disintegration of the art scene because artists were getting priced out of San Francisco (where we were) and she brushed it off with a Boomerism about how art happens if you try hard and believe in yourself or whatever, which was pretty curt especially considering how she'd just been talking about her Floating Museum project, which included Michael Asher getting a National Endowment for the Arts to put some pieces of wood on a staircase. I said so, one of her collaborators quipped back that, actually, paint was more expensive in the '70s and you had to mix it yourself, so, obviously, no one can possibly say if things are better or worse now... Anyway, credit where it's due, her interest in tech, AI, digital identity, gender identity, etc., should be something I can't stand on paper, but she's much less braindead than most purveyors of those signifiers these days. Her drawings and prints in particular play with the skewed distance between one's internal sense of self and the presentation/representation of oneself through media, which is actually how things are, i.e. fucked up and nonsensical, unlike the contemporary trend of affirming categorical identities as uncomplicated and fully coextensive with interiority. This certainly isn't my kind of art and the sci-fi narrative of the video work got an eyeroll, but she's intentionally messy and ridiculous in a way that avoids most of what I really can't stand from most work enveloped in these concerns.
Melvin Way - CO2 Blues: The Art of Melvin Way (1989-2024) - Andrew Edlin - ***.5
As usual for Edlin, an outsider artist scrawling on bits of paper, in this case sprawling chemical equations that occasionally expand to the point of turning into images but mostly don't. What's more engaging are his cumulative procedures, whether in the entropic well-worn quality of all these fragments, folded and packed into his bags and pockets and suitcases (of which there's examples on display), taped to each other or just to stop them from falling apart, or the Xerox reproductions of old drawings reincorporated into new ones. The lived-in, labored-over quality of it all is appealing and enveloping even if, of course, it's all incomprehensible.
Geneviève Asse, Anna-Eva Bergman, Terry Haass, Hans Hartung, Georges Mathieu, Serge Poliakoff, Gérard Schneider, Pierre Soulages, Maria Helena Vieira da Silva, Wols, Zao Wou-Ki - The New School of Paris Through Its Pioneering Women (1945-1964) - Perrotin - **
Oh okay, this is like if you took all the worst tendencies of midcentury abstraction and discarded all the good ones. These are too stiff and too decorative, tentative but also arrogantly overconfident, squandering the opportunity to indulge in color, structurally lazy and unadventurous. No wonder it's at Perrotin!
Florian Pumhösl - Lithosphere - Miguel Abreu - *.5
Ah Florian, my second review ever and my first negative one. He's changed up from his top-down views of canals, but these might be even worse. All I see are stacks of boutique handmade paper or, at best, piles of flagstones. Come on man...
Paul Pagk - Recent Works on Paper - Miguel Abreu - ***.5
Inventive and kind of cute, almost funny, even. These drawings are more dynamic than his paintings because the messiness takes center stage and pushes against his tendency towards polish and restraint. That begs the question, why are his paintings more restrained? Who told him he has to be intellectual and austere? I guess that's always my question with Miguel Abreu, is any of this rational philosophy helping the art? In my experience it rarely does, if ever.
Stephen Willats, SoiL Thornton, Heji Shin, Coumba Samba, Charline von Heyl, John Duff, Nicolas Ceccaldi, Merlin Carpenter - Zone - Reena Spaulings - **.75
Willats: Pretentious but not terrible fake science textbook illustrations, Dan Walsh at Paula Cooper was doing a similar visual directionality thing but much more forcefully and appealingly (Note: he takes up most of the show.) - ***
Thornton: SoiL's ego trip overdose continues unabated, I'm getting flashbacks to the Simon Denny show. Embarrassing. The glow-in-the-dark paint just adds to the insult. - *
Shin: Pretty picture. - ***
Samba: They feel out of place and overly innocuous but aren't outright heinous. - **.5
von Heyl: Just enough combined layers of dumb to work well together. - ***.5
Duff: I like these more than most of his solo show, the industrial ad-hoc construction combines with the nearly non-composition to hover perfectly in the "zone" of not quite an artwork but not not an artwork either. - ***.5
Ceccaldi: God, I'm going to puke, and he did it three times? - *.5
Carpenter: Brilliantly stupid, if only because I know he has some Marxist interpretation that goes along with it to triple down on its stupid negativity to such a degree that it approaches ingenuity in spite of itself. They look good too, weirdly. - ****
Total: 3 + 1 + 3 + 2.5 + 3.5 + 3.5 + 1.5 + 4 = 22 / 8 = 2.75.
Michelle Grabner and B. Wurtz - Laurel Gitlen - **.5
Both artists are quaint and, again, almost funny, although I wish Wurtz took it a lot further. My favorite part is that I can't tell if there's an Op Art effect in Grabner's ginghams or if it's just my eyes. I guess it's there? My least favorite part is that that's the only thing that interested me.
4/25/2024
Martin Wong, Paul P. - The Midnight Sea, A Little Dash of LSD - PPOW - **.5
I like Martin Wong's paintings. I know, I know, call me crazy! These drawings just remind me of bad acid trips though, and I don't appreciate being reminded of that feeling where everything starts looking like that and you know you're going to be stuck with it for another 8-10 hours. It is interesting how they have no resemblance to his paintings, so I appreciate their contrast within his body of work. No such luck with Paul, whose sketchbooking is positively wimpy by comparison. The lithographs are casually enjoyable scenes of nature, but pretty much everything else is just bracingly dull. I mean, really, if the show wasn't narrativized as an intergenerational dialogue of two queer makers, wouldn't his work just be a collection of ineffectual sketches by an unexceptional traditionalist artist?
Andrew Wyeth - Enter Andrew Wyeth - Schoelkopf - ***.5
Wyeth is, of course, an exceptional traditionalist artist. As someone who never marvels at the precision of virtuosic details, I found myself marveling at the details. The two tempera paintings are particularly impressive, like the two stick sprouting out and casting their shadow on the boulder in Far from Needham. It's not anywhere near a major survey but Wyeth is pretty undeniable as far as reactionary conservative figuration goes.
Arthur Jafa - BLACK POWER TOOL AND DIE TRYNIG - 52 Walker - **
I'm sure he has a reason for making most of these prints extremely low-res, but they're not helping to convince me of anything. Sure, these pictures "look cool," but the overt formal copycatting of Cady Noland and Richard Prince is essentially just namedropping, to say nothing of the literal namedrop function of photos of Foucault, Adrian Piper, Jimi Hendrix, Miles Davis, etc. The press release asserts that this work approaches art from a "decidedly Black, non-Western perspective" but I don't see how except on the level of surface aesthetics. The actual content is completely ensconced in Western art traditions, to the point of being naked derivative. Even the design aesthetic is flashy and luxurious, which are not qualities I think of as non-Western. It pains me to have to keep complaining about Tumblr art, but I can't see this work as more than an aesthetic blog plus a production budget to make it physical. To be honest I almost like Jafa's work, there's a blunt negativity that does remind me of Prince and Noland in a good way, but it's spoiled by all this ostentation over this work being meaningful and important, how it's somehow doing the work of addressing race relations in the United States. I'm not saying that race in America isn't a problem or that it shouldn't be addressed, just that I'm irritated by the pretension. "Ah yes, but of course this cutout of a famous person in a dark room is changing the world before our very eyes!" If people were basically literate about the history of modernism they'd realize that the avant-garde drive to reinvent society is one of the most fraught and least readily granted forces on earth, even in revolutionary eras, let alone our dissolute present. But then what would the curators at all the institutions do if they realized that?
Noel Neri - Visual Koans: Sculpture and Works on Paper - George Adams - *.5
Generic minimalism trying to convince itself that it's not contrived by tacking on a bunch of Buddhist titles, but it's not fooling me. I'm as big a fan of Buddhism as anyone else but the ecstatic hippie brain is at odds with the artistic temperament, it's too easily satisfied. If you're already blissed out on life then art isn't for you, and, if the Buddhism here is an attempt at compensation for being very much not blissed out, that just makes the work sadder.
Joe Hoyt, Chase Wilson - Disappearance of the Spokes - Galerie Timonier - ***.5
Wilson's paintings are refreshingly hard to pin down, his shapes are apparently influenced by lace and ornament but they mainly remind me of abstracted saxophones, I guess because of all the yellow. Hoyt's are precious and procedural, perhaps they're less immediately captivating but they do achieve a unique effect. Their moodiness isn't too interesting to me, but then his tiny sketches are surprisingly divergent and suggest a fertility of imagination that improves the impression I have of the paintings. To be honest, I got caught into talking with the gallerist because they'd run out of checklists, which I usually don't do because it distracts me from thinking about the art. As such my impression of the show is kind of unsettled, but it was a pleasant surprise of something different, if not exactly new.
Sonya Rapoport - Digital Mudra (1986-89) - Bibeau Krueger - ***
A feminist index of hand gestures combined with the Eastern inflection of mudras. As social critique quasi-sociology art there's not much depth to the inquiry in comparison to someone like Marianne Wex but, thankfully, the vintage photos layered with painted mudras on plexi plus the image captions layered with the poem on the plexi is lightly humorous, not too affectated by spirituality like Neri and not too self-serious either. It's actually kind of fun, as is reinforced by the slideshow of newspaper clippings of comics and photos of politicians.
4/19/2024
Alighiero Boetti - Insecure Unconcerned - Sprüth Magers - ***.5
I've seen a few Boettis here and there, mostly the rug pieces, and although the work made a favorable impression I didn't know anything about him outside of obvious inference that he's a quirky Italian. This show tidily contexualizes him as an arch randomcore conceptualist, and the show's central work, a portfolio of eighty-one extremely various works on paper, quite accurately anticipates a certain kind of Tumblr aesthetic. That's usually a less than positive reference point in my book, but, instead of the usual Tumblr stereotype of merely recapitulating an obvious surface style, Boetti does the good Tumblr move where style is systematically resisted until that eventually carves out a distinct sensibility by negating established sensibilities. A lot of the work would be ephemeral or boring on its own but the cumulative inconsistency adds up to something far more interesting to the sum of the parts; all these goofy non-drawings only manage to look cool in the company of all the other goofy non-drawings. I don't know what to make of the artworks bleeding seamlessly into the ephemera in the back room. Maybe that's a good thing?
Alexander Calder - Calder - Gray - ***
I enjoy Calder, who doesn't? He's one of the few sculptors of his generation where what he was working through remains immediate and undiminished with time, an accessible entry point to modern sculpture that for once articulates its concerns obviously. The thing is that the space is dominated by Clouds over Mountains, a huge, angular floor piece, and I don't like it. It's sleek and comparatively simplistic, and I assume it was commissioned to outside fabricators. Even if it wasn't, it feels that way. His other works have a handmade delicacy and lack of polish that adds to their elegance, an almost organic warmth that makes their lilypad/constellation forms more convincing, and as they get smaller they get proportionally more precious. I distinctly remember seeing video of his Circus my freshman year of college where a miniature acrobat jumped onto a horse or something (it doesn't seem to be in the clips I could find online) that impressed on me almost for the first time that artists can sometimes do things that seem impossible. I don't really care about what I thought when I was 18, but the finesse of Calder's touch seems integral to what I like about his work. I didn't know he did the terrazzo in front of the building, which is a nice little bit of urbanist trivia.
Per Kirkeby - Paintings on Masonite and Bronzes - Michael Werner - ****
These Masonite paintings force me to think of a passage from T. J. Clark's Farewell to an Idea where he contrasts Asger Jorn to American abstractionists, its substance being that European painters are incapable of escaping the condition of painting as "refinement." No matter how garish or ridiculous his paintings became, it was impossible for him to achieve the brute vulgarity of his American counterparts. The same observation applies exactly to Kirkeby, and as a case in point, Kirkeby's crudeness has no crudity, his attempts at being unhinged are shrewd and controlled, his clashing forms and colors retain a tastefulness, etc. That's not a value judgment; I don't prefer refined crudity over vulgar crudity or vice versa, they're just different. Even Clark, who refers to Jorn as the greatest painter of the 1950s, comes off equivocal by adding a paragraph later that he had very few good paintings, let alone great ones. What's interesting about this exhibition is the clear consistency across four decades; the chalkboard works from the '70s and others from the '10s don't suggest any datedness in the former or any particular stylistic developments in the latter. They're the product of a formal system and a language in spite of the apparent chaos, it just so happens to be a particularly loose system. That surface freedom, approached with his inborn sophistication, creates a consistent inconsistency that's subtle and unburdened, and where many American abstractionists eventually found themselves trapped in the blunt repetition of their signature style, these feel comparatively inexhaustible. I'm not particularly drawn to the sculptures but they don't bother me, their alternating phallic/yonic forms are so unformed that, except for the one nearest to the front windows with a funny conehead face, I can't find a way into considering them.
Ray Johnson - Paintings and Collages 1950-66 - Craig Starr - ***
Early Johnson works on his mandala shit, which look like tasteful 90s greeting cards from a distance but turn out to be so intricate and meticulous up close that they mostly overcome that first impression. Some of the more overtly assembled work in the back flirts with some of the sillier elements of Surrealism, like Ernst's collages, and for some reason makes me think of David Lynch's art, which is to say it totters on the edge of cheesiness. These never quite cross the line, but they're still very far from the distinctions of his best-known work.
Amadeo Luciano Lorenzato - David Zwirner - **.5
Pleasant but too schematic, there's nothing to chew on.
Madeline Bach, Isabelle Brourman, Sedrick Chisom, Steve DiBenedetto, Louis Eisner, Georgia Gardner Gray, Dan Herschlein, Madeleine Hines, Bradford Kessler, Tarwuk, Olivia Van Kuiken, Hans Bellmer, Lee Bontecou, Arshile Gorky, Unica Zürn, Cy Twombly - Manic Pixie Nightmare Drawings - Adler Beatty - **
I suppose we're supposed to gather something from the juxtaposition of long-dead canonical artists and these contemporary up-and-comers, but the only successful nightmare drawings are the old ones. That is, unless you count the Trump piece which is, naturally, a nightmare of a faux pas. The rest of the young artists seem to think they're far more adventurous and cultivated and interesting than they are, which is only emphasized by how neatly they've been outdone by their elders. If any of them had any of the sprawling energy of Bontecou or Twombly, let alone Gorky, that would be one thing, but...
Françoise Gilot - Rosenberg & Co. - **.5
In one of the great upsets of the century, it turns out that Picasso's lover was not Picasso's artistic equal. The '40s works like White and Red Still Life or Joy VIII have moments of exuberance, but her portraits are forced caricatures and most of her abstractions are stiff and withdrawn, although August Stillness has a nicely alien compositional sense. She's decently talented in a casual way when she's not trying too hard, but considering her natural anxiety of influence it's not surprising that that wasn't very often. Picasso's outsize stature ruined whole generations of painters, what hope did she have after living with him for a decade?
Larry Poons - One For Baby - Yares Art - ***.5
The man stays busy for an 86-year-old! Hell, this much painting in the span of a year is impressive at any age. On the other hand, these are almost one-note, but that note has plenty enough going on in it to bear repeating. Between Augustine and Lenny Burma are particular standouts, where the bleed between color and shape approaches a totalizing psychedelic indulgence you get in the better late Richters, but others like Four Wall Around Me beg the question of whether the world really needs another giant splattered abstract painting, which seems to be the consequence whenever he dials back the colorism. Brand new paintings this good are scarce, to say the least, but in comparison to the retrospective he had here a year
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https://www.linkedin.com/posts/oliver-mcateer-aa8b8484_the-heyday-of-pitching-is-packed-with-weird-activity-7211875533951770625-K2TP
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Oliver McAteer on LinkedIn: The heyday of pitching is packed with weird and wonderful stories—most of…
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https://static.licdn.com/aero-v1/sc/h/c45fy346jw096z9pbphyyhdz7
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https://static.licdn.com/aero-v1/sc/h/c45fy346jw096z9pbphyyhdz7
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2024-06-26T23:38:37.431000+00:00
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The heyday of pitching is packed with weird and wonderful stories—most of them urban legend at this point.
Like the story of an agency CEO who smashed a… | 29 comments on LinkedIn
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https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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https://www.linkedin.com/posts/oliver-mcateer-aa8b8484_the-heyday-of-pitching-is-packed-with-weird-activity-7211875533951770625-K2TP
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There is First class. There is simple class. There is no class. Then there is David Portnoy. The man behind "Barstool Sports" issued a self-aggrandizing and pathetically zero class video to celebrate the latest demise of the website, "Deadspin". Sure, there's something to be said for healthy competition. But when a multi-millionaire takes great delight in seeing real journalists, (something of which he has never employed in the life of his often-insulting juvenile web products), fired and without work in a difficult time for media employment, then it takes on a new and bottom-feeding level. Portnoy has become wealthy from shoveling to the lowest common denominator, so this is nothing surprising. I know. I was there when he started his company. It is possible to be a winner and have class. It is also possible to not be a raging jerk in denigrating people when they are at their lowest point. It is possible to communicate a level of professionalism and to rise above every fray. Think about taking that better road should something like this cross your path. Portnoy will just mock them for nothing more than frat boy social media gratification. Be better than Dave Portnoy. It's not difficult at all. #class #socialmedia #communications #corporate #personal #professional #image #integrity #leadership #dontbeajerk #CEO #CFO #humanrelations
What drives you? One of my supposed-to-be most embarrassing professional moments keeps me going today. In 2019, I was pitching an unusual PR stunt to media – my dryer vent cleaning + maintenance client was attempting to compile the largest ball of lint, then to be set on fire to illustrate its danger in homes. Odd? Yep. Out of the ordinary? Yep. Newsworthy, too? I thought so. The attempt was hopefully going to be a Guinness World Record, and a licensed adjudicator agreed to attend. I pitched dozens of reporters across all mediums leading up to the big day (TV, radio, written). One national reporter took exception to my pitch, and she let that be known. She politely passed via email reply to me, and then on a big radio program – she laughed at the pitch’s merit, naming me, my client and the laughable pitch idea. Related (I thought) she wrote about strange successes, weird stories and funny businesses. A big ball of lint seemed in this vein, at least to me. I first learned about my new radio spotlight when I came into work the morning after it aired, as us PR folks track mentions of clients + such across media. Believe it or not, I saved the audio clip. I sent it to my boss. It motivated me. In the coming days, I kept pitching the ball of lint. And it hit – really well. It was discussed on CNN, written about on CBS, Yahoo, MSN; ball-of-lint TV segments syndicated across more than 200 local channels. It was so successful that (after the fact) Guinness asked if they could showcase the media results as a case study for future businesses considering record attempts. Here that is below, and needless to say, the record was broken: https://lnkd.in/dTScvJ8N
Well, Ancient Crunch Inc. didn’t get mad when I offered some unsolicited advice. Neither did Toto or Bold Bean Co. So let’s see what happens when I apply my way of writing to this Jenny Craig ad. The headline I’d try if I could: “If you’re reading this ad, you’ve already started.” Why? When I worked on the account a few years ago, the client told us, people who come to Jenny Craig have tried six or so major diets. So after all that, what do you think the subconscious mind (whose job is to protect us from pain and ultimately keep us alive) would say to this ad? “NOT AGAIN.” So my headline might (let’s test it Jenny) help give that reluctant reader enough credit for what they’re doing well (the cornerstone of my writing philosophy) to click, where the copy would continue in a caring, human, understanding way to continue the empathy and only then offer a discount. I’m not saying this ad doesn’t work. I’m asking, is it leaving a whole bunch of clicks on the table — representing a bunch of people this program could help? Thanks! #brandpositioning #subconsciousmarketing
Why is Aaron Rudman-Hawkins moving his arms with such vigor you ask? 👐 Well it's another week and another visit to one of our awesome clients! 🙌 No matter how many times I watch this man work, it never fails to impress me! I wasn't sure what this post would be when I started writing but I guess it's now an Aaron appreciation post 😅 But seriously, this man knows his stuff! The first time I watched him pitch, it took him 5 minutes to know more about the business than the potential client did! 🤯 Every time he talks to our clients, his commercial led approach speaks volumes and makes so much sense! 📈 And of course, as Aaron often says Keep It Simple Stupid (KISS), and that's what we do. We only do things that make sense at The Evergreen Agency. 🤔 We don't put the cart before the horse 🐎 We use data to inform our decisions 📊 We take things step by step, making sure the people we work with understand everything along the way (so many don't do this!). That's the Evergreen way 😉 #evergreen #agency #video #commercials #inspire
How do you fold in the cheese?!?! When it comes to the difference between brand voice and content tone, nothing illustrates it better than this classic scene from Schitt’s Creek. David and Moira have two distinct personalities. As characters, they’re VOICES are completely different. Even if you were reading instead of listening or watching, you would be able to tell the difference. David is quick-witted, dry, neurotic, and opinionated. Moira is flowery, critical, formal, and flighty. But notice how, in this scene, their tones are very similar. They’re both aggravated, tense, pessimistic, and a little sarcastic. As a brand, your voice is the core of who you are and should stay consistent. On the other hand, your tone can change with the situation. #brandidentity #toneofvoice #brandedcontent #contenttips #technicalstorytelling
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https://www.wikidata.org/wiki/Q7088396
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Olly Alexander
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British singer and actor
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https://www.wikidata.org/wiki/Q7088396
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https://www.varsitytutors.com/english-tutors-thornton
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Top 20 English Tutors Near Me in Thornton, CO
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Choose the best English tutor for you from many highly-rated tutors in Thornton, CO available for personalized 1-on-1 English tutoring. Achieve English excellence.
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https://www.varsitytutors.com/english-tutors-thornton
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https://www.britannica.com/biography/Mary-Oliver
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Mary Oliver | Biography, Nature Poet, Pulitzer Prize, Wild Geese, & Facts
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[
"Mary Oliver",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null |
[
"The Editors of Encyclopaedia Britannica"
] |
1998-07-20T00:00:00+00:00
|
Mary Oliver was an American poet whose work reflects a deep communion with the natural world as well as a belief that poetry “mustn’t be fancy.” Oliver, who had a devoted following, was known for her use of plain language and accessible imagery. In 1984 she won a Pulitzer Prize for the collection American Primitive (1983).
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/biography/Mary-Oliver
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Mary Oliver (born September 10, 1935, Maple Heights, Ohio, U.S.—died January 17, 2019, Hobe Sound, Florida) was an American poet whose work reflects a deep communion with the natural world as well as a belief that poetry “mustn’t be fancy.” Oliver, who had a devoted following, was known for her use of plain language and accessible imagery. In 1984 she won a Pulitzer Prize for the collection American Primitive (1983).
Oliver stated that she grew up in a “very dysfunctional family” and had a “difficult childhood.” She later attended the Ohio State University and Vassar College but did not earn a degree. She worked for a time as a secretary for the sister of Edna St. Vincent Millay. Millay’s influence is apparent in Oliver’s first book of poetry, No Voyage and Other Poems (1963). These lyrical nature poems are set in a variety of locales, especially the Ohio of Oliver’s youth. Her childhood plays a more central role in The River Styx, Ohio, and Other Poems (1972), in which she attempted to re-create the past through memory and myth. The Night Traveler (1978) explores the themes of birth, decay, and death through the conceit of a journey into the underworld of classical mythology. In these poems Oliver’s fluent imagery weaves together the worlds of humans, animals, and plants.
Britannica Quiz
A Study of Poetry
Oliver’s volume American Primitive (1983), which won a Pulitzer Prize, glorifies the natural world, reflecting the American fascination with the ideal of the pastoral life as it was first expressed by Henry David Thoreau. In House of Light (1990) Oliver explored the rewards of solitude in nature. New and Selected Poems (1992), which won a National Book Award; White Pine (1994); Blue Pastures (1995); West Wind: Poems and Prose Poems (1997); Why I Wake Early (2004); and A Thousand Mornings (2012) are later collections.
Oliver also wrote about the writing of poetry in two slender but rich volumes, A Poetry Handbook (1995) and Rules for the Dance: A Handbook for Writing and Reading Metrical Verse (1998). Winter Hours (1999) includes poetry, prose poems, and essays on other poets. In Long Life: Essays and Other Writings (2004), Oliver explored the “connection between soul and landscape.”
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https://musicbrainz.org/artist/27d75037-0562-496a-918c-2e8170c3adcb
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Oliver Thornton
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actor, Type: Person, Gender: Male, Born: 1979-09-10 in Abergavenny, Area: United Kingdom
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~ Person
Legal name: Oliver Rhoe Thornton
Discography
Album + Compilation
YearTitleArtistRatingReleases2008Act One: Songs From the Musicals of Alexander S. BermangeAlexander S. Bermange1
Showing official release groups for various artists (Show official release groups)
Artist information
Sort name:
Thornton, Oliver
Type:
Person
Gender:
Male
Born:
Born in:
Abergavenny, Monmouthshire, Wales, United Kingdom
Area:
United Kingdom
Rating
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Dragging up the Bard
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2016-06-10T00:00:00
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After 14 years of doing musical theater in London’s West End, Oliver Thornton set his sights on Broadway and moved to New York.
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en
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Washington Blade: LGBTQ News, Politics, LGBTQ Rights, Gay News
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https://www.washingtonblade.com/2016/06/10/oliver-thornton-interview-dragging-up-the-bard/
|
Oliver Thornton
‘The Taming of the Shrew’
Through June 26
Shakespeare Theatre Company
Sidney Harman Hall
610 F St., N.W.
202-547-1122
After 14 years of doing musical theater in London’s West End, Oliver Thornton set his sights on Broadway and moved to New York.
“I arrived two years ago without knowing a single person, but I felt it was time to shake things up with a big life challenge. And I was right.”
The out actor’s most recent challenge is playing Bianca, the younger, fairer sister in the Shakespeare Theatre Company’s all-male production of “The Taming of the Shrew.” While it’s not Thornton’s first time in heels — in London he donned drag for “Priscilla Queen of the Desert” and as Frank N Furter, the sweet transvestite in “The Rocky Horror Picture Show “ — this time it’s different.
“Here I’m portraying an actual woman,” Thornton says. “Audience members say they can quickly accept that the male cast members playing female parts are women. What I find so interesting about doing an all-male is that the lines of gender blur. You see characters as people.”
One of Shakespeare’s earlier comedies, “Shrew” with its treating of women as commodities isn’t the easiest of works.
“It’s misogynistic,” says Thornton, 36. “There are lines and themes that make us wince. Because the cast is all male, it alters the perspective to some degree without changing the content. It doesn’t feel as bad.”
Staged by out director Ed Sylvanus Iskandar, the production is immersive, which means the actors interact with the audience before the play begins and during the intermission. He’s also added music to the classic. The score is from the back catalogue of singer songwriter Duncan Sheik.
“Rehearsing the show was absolutely epic,” Thornton says. “Learning songs in addition to the play was a lot. I’m from musical theater background, but hadn’t sung this type of pop music. Fortunately the music lends itself to theater. The lyrics are story telling driven and something that I could get into.”
Thornton’s Bianca is a willowy blonde model circa 1950s la dolce vita. More precisely, she’s the face of the family’s fashion house and her father’s favorite. Suitors are in no short supply. But the hitch is that Bianca cannot marry before her older angry sister Katherina, played by Maulik Pancholy (best known as Jonathan from TV “30 Rock”), ties the knot. Sweet and demure, Bianca makes the perfect foil to her hellcat sibling. The cast also features out actors André de Shields, Rick Hammerly and Tom Story.
Prior to studying theater in London, Thornton trained in classical ballet in his native Wales.
“I’m convinced that dance sets anyone up for life better than anything else. It definitely makes getting the physicality of a part easier. Understanding the body and how physicality tells a story helps an actor immensely. With Bianca I wanted to create lightness in her character and give a finish and polish to her. My dance background made that possible.”
Thornton is admittedly smitten with the vastness and variety of the American theater world.
“In London,” he says, “the scene is smaller and productions must turn a profit unless they’re at one or two of the government-funded theaters. West End shows have to make money. Consequently everyone is reluctant to take risks. In the U.S., the focus is on what’s the hot new ticket. Everyone wants to create the next new thing like ‘Hamilton.’ If you land it, it’s going to be huge.”
For now, he’s enjoying being Bianca.
“Some actors like to bury themselves in research. I find it a bit stifling. It took time to relax into Bianca. It was a bit trickier than I expected. But as time went I’ve gotten to know her, and I like her a lot.”
This year marks the centennial of James Baldwin and it’s not going unnoticed.
Born in New York City on Aug. 2, 1924, Baldwin was a 20th century literary titan. Not only was he tremendously prolific and talented, the novelist/poet/playwright/ and essayist par excellence, fearlessly wrote works exploring core identity topics including masculinity, race, class, and sexuality.
Baldwin was also Black, openly gay (long before Stonewall) and an activist. With the ubiquitous cigarette in hand, a quick mind and courageous heart, he was a regular on popular talk shows, and a leading voice in the civil rights movement, unreservedly addressing social inequities and Black oppression.
In recognition of his greatness, Baldwin centennial celebrations have been popping up all over. In North Bethesda, the Strathmore has already embarked on two months of commemorative programming, including live musical and theatrical events celebrating the late writer’s genius.
On Saturday, Sept. 7, at The Mansion at Strathmore, Howard University’s Department of Theatre Arts students will perform select scenes from Baldwin’s dramatic works: “The Amen Corner” (1955) and “Blues for Mister Charlie” (1964). Directed by Dr. Khalid Y. Long, the presentation will also include a scholarly overview of Baldwin’s contributions to African American Theatre.
And on Saturday, Oct. 5, The Music Center at Strathmore presents queer singer/songwriter Meshell Ndegeocello doing “No More Water/ The Gospel of James Baldwin.” Inspired by the way Baldwin empowered others through the written word, the Grammy-winning artist uses music as her vehicle to engage others in the challenge and promise of Baldwin’s work.
A famously versatile performer, Ndegeocello enjoys a devoted fan base who follow her on “sojourns into soul, spoken word, R&B, jazz, hip-hop, and rock, all bound by a lyrical, spiritual search for love, justice, respect, resolution, and happiness.”
Since Baldwin’s death from cancer at 63 in 1987, his reputation hasn’t dimmed. In fact, it’s grown in some ways. E. Ethelbert Miller, the D.C.-based literary activist, memoirist and poet, credits Baldwin’s ongoing relevance in part to queer studies and a flurry of films including Raoul Peck’s 2017 Oscar nominated documentary “I Am Not Your Negro.”
Miller adds, “Baldwin is an is important writer who speaks to his time. He explains what it means to be an American. He speaks to things outside of sexuality. Personally, I read Baldwin to understand what the Civil Rights movement was about.”
And while he doesn’t claim to be a Baldwin expert, Miller has delved deeply into the legendary author’s life and work, describing Baldwin as a sort of prophet: “He comes out of the Black church. There’s no Baldwin without the Black church. He was a child minister. It’s not surprising that within his work [his semi-autobiographical first novel ‘Go Tell It on the Mountain,’ the gay-themed ‘Giovanni’s Room,’ etc.] he struggles with sin and the devil.”
His early life in Harlem wasn’t easy. Baldwin’s stepfather, a stern storefront minister, was severe and unkind. In search of himself, Baldwin headed downtown to Greenwich Village where he found a formative lover/mentor in Beauford Delaney, the great modernist painter who, by example, taught his protégé how to be Black, gay, and an artist.
Before turning 30, Baldwin was already a famous author brimming with energy in terms of youth, vision, and hope.
And though he lived and flourished in France and Turkey for a time, Baldwin found it difficult to comment on what was happening in America from afar: Miller says, “He couldn’t. Because he comes out of the church, he has to be a witness. He needs to testify. So, he joins the civil rights movement in the South.”
In later years, Baldwin settled in the French town of Saint-Paul-de-Vence where he continued to write until his death.
For Miller’s money, Baldwin’s most exciting works are his essays. He wholeheartedly recommends ‘Price of a Ticket,’ a compendium of nearly 50 years of Baldwin’s powerful nonfiction writing, mostly focusing on the experience of race and identity in the United States.
On Thursday, Sept. 26, Miller is slated to join the party with a lecture titled “James Baldwin at the Crossroads” at Eaton House, a co-working space at 1203 K St., N.W., where, from a 2024 perspective, he’ll reexamine Baldwin’s 1976 book about film, “The Devil Finds Work.”
‘The Colored Museum’
Through Aug. 18
Studio Theatre
1501 14th St., N.W.
$50-$119
Studiotheatre.org
Snap, snap. Sitting in a New York gay bar named the Bottomless Pit, Miss Roj snaps their fingers as they read the local scene and the club’s clientele.
Snap, or “The Gospel According to Miss Roj,” is just one of about a dozen sketches hop-scotching through the Black American experience in Charles C. Wolfe’s “The Colored Museum,” now playing at Studio Theatre.
Miss Roj, searingly played by Matthew Elijah Webb, talks about what it means to be queer and Black. Dressed to impress in spangly top, striped pants, and white vinyl boots inspired by Annette Funicello circa “Beach Blanket Bingo,” Roj hopes to dance their demons out rather than drink them out. That’s the plan anyway.
Before winning awards for direction (including Tonys for “Angels in America” and “Elaine Stritch at Liberty”) Wolfe, who is gay and Black, wrote “The Colored Museum.” The scathing, subversive work premiered in 1986, and though slightly dated around the edges, it remains funny, hard-hitting, and provocative today.
At the top of the show, we’re greeted by Miss Pat (Ayanna Bria Bakari), a bouncy, pink-uniformed flight attendant who welcomes us aboard Celebrity Slave ship. She reminds us to buckle our shackles and warns that there’ll be no drumming, a caution that’s quickly and wonderfully disregarded by musician Jabari Exum who drums throughout the 90-minute play with music.
The immersive revival is directed by Psalmayene 24, a Studio Theatre stalwart. Collaborating on the production is Natsu Onoda Power. She’s designed the set and setting for the play turning the Victor Shargai Theatre into a sort of museum of Black history. The space is fitted with roughly hewn benches and humble cushions; its walls are covered with art.
Power’s serviceable set makes a terrific backdrop for projections of famous Black Americans including Oscar-winning actor Hattie McDaniel best known for playing Mammy in “Gone with the Wind” and current vice president and perhaps soon to be commander-in-chief Kamala Harris.
Somewhere I read that hair is power. Whether that’s true or not, I don’t know. But there’s a clever scene where a woman wearing a wig cap (Kelli Blackwell) is bookended by talking wig heads who advise her on what’s the most successful hair to wear to an important meeting. One of the heads sports a natural Afro look while the other is giving long straight hair that affords a well-timed hair flip gesture. It’s a humorous yet meaningful dive into Black beauty culture.
The hair scene transitions to a fascinatingly drawn satirical homage to Lorraine Hansberry’s “A Raisin in the Sun” with Blackwell changing into grey-wigged Mama. William Oliver Watkins is marvelous as the hardworking young man of the house whose mother repeatedly insists that he wipe his feet before entering. It’s a Black writer’s sly take on a lot of 20th century theater made with Black audiences in mind.
Another sketch focuses on Lala (Iris Beaumier), a southern Black woman who had to cross the pond to find the appreciation and respect her huge song and dance talent deserved — shades of Josephine Baker and Eartha Kitt.
The versatile ensemble cast is talented and fetching, more than adept at both singing and acting. They play multiple roles convincingly, benefiting in part from the labors of designer Moyenda Kulemeka whose costumes help bring to life characters ranging from raggedly dressed slaves arriving in Savannah, Ga., to smartly attired style mavens on the glossy pages of Ebony magazine.
At the end of the play, Miss Pat and the players return to the stage to see us travelers off with an upbeat adieu. Whatever baggage we take or leave behind is up to us.
‘Beautiful: The Carole King Musical’
Through July 25
Olney Theatre Center 2001 Olney-Sandy Spring Road, Olney, MD 20832 $31 -101Olneytheatre.org
As Bobby Smith describes it, “not too long ago, some things tripped me up.”
In late 2023, the celebrated, out actor was involved in two very serious car accidents and suffered severe injuries. And then May brought the unexpected death of his beloved Vizsla hound Mabel, named for the heroine in Gilbert and Sullivan’s “Pirates of Penzance.”
So, for much of 2024, Smith had been spending time healing at his farmhouse in Ellicott City, Md. Until now. Currently, he’s back on the boards at Olney Theatre Center playing record producer Don Kirshner in “Beautiful: The Carole King Musical,” a fun juke box musical about the early career years of singer/songwriter King from her Brooklyn roots to writing hits from an office in Times Square with her lyricist husband Gerry Goffin and on to Los Angeles solo-stardom.
WASHINGTON BLADE: Hey Bobby, you’ve been through a lot since we last spoke.
BOBBY SMITH: It’s been a whole lot. I spent the last seven or eight months either at home or going to doctor visits.
BLADE: How is it being back on stage?
SMITH: To be honest, it’s like learning to walk again.
BLADE: And playing the famously deadpan Don Kirshner?
SMITH: It’s good. I don’t do an imitation. Instead, I’ve created a character who’s not over the top; otherwise, it would become the Don Kirshner show and we don’t want that.
But because there’s not a lot of drama with Carole King, she’s a really kind, nice person, Don serves as a sort of catalyst. He pushes the story forward. He prods Carole to write more songs, to try different things. He doesn’t like her boyfriend. Don the character doesn’t sing much but he’s always barking at people.
BLADE: Sometimes you forget just how many familiar songs King wrote: “Take Good Care of My Baby,” “Up On the Roof,” and “Will You (Still) Love Me Tomorrow” for acts like the Shirelles and The Drifters. And later songs like “It’s Too Late,” “You’ve Got a Friend,” “(You Make Me Feel) Like a Natural Woman,” and of course “Beautiful.”
SMITH: Yeah, it feels like she wrote every song known to mankind; the show tells you that, and we sing most of them.
BLADE: You experienced a highpoint during the rough times. In May, you won a Helen Hayes Award for playing Bruce, the complicated, manic depressive, closeted father in Studio’s production of Alison Bechdel’s “Fun Home.”
SMITH: I did, but unfortunately, I couldn’t make it to the ceremony.
Bruce is a sympathetic but difficult character. Ever since being born, people of a certain age, have had to fight our way into the struggle of being gay. It’s not so much a struggle anymore, or I should say not as much as it used to be, but now there are a whole lot more signposts that didn’t exist when I was growing up.
Over the years, people have randomly attacked me for not talking more about my sexuality. I’m not closeted but I don’t feel I have to tell everyone. I don’t share it with my land lady. I don’t need to say “I’m here and I’m queer. Here’s your rent.”
BLADE: You have been in show biz for decades now. What keeps you going?
SMITH: I’m not sure, sometimes I ask myself what was I thinking when I decided to be a professional actor? I feel like I’m making a bigger contribution teaching at Catholic University than I did my entire acting career.
Now that I’ve taken over the tap department, I’m full time at Catholic. I’m also teaching Acting the Text, Directing for Musical Theatre, and in the fall, I’ll add Musical Interpretation.
BLADE: In this summer of so many theatrical choices, why see “Beautiful”?
SMITH: Well, if you don’t already know Natalie Weiss who plays Carole, you should. She’s an amazing compelling, vocalist with one of the healthiest singing voices you’ll ever hear, no straining, perfect placement.
Also, there’s nothing about “Beautiful” that’s going to make you feel bad, or put you in a place where you might think you need to talk to your therapist. That’s not going to happen. And it’s because Carole King is a positive human being; from an actor’s perspective, you feel great by the end of the show, and the audience gets that. The happiness is infectious.
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https://music.usc.edu/spotlights/3-paderewskis-a-new-one-act-opera/
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3 Paderewskis, a new one-act opera
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2019-10-09T18:50:49+00:00
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A creative team from USC Thornton, the School of Dramatic Arts, and the Polish Music Center collaborate on a new one-act opera.
|
en
|
USC Thornton School of Music
|
https://music.usc.edu/spotlights/3-paderewskis-a-new-one-act-opera/
|
A creative team from USC Thornton, the School of Dramatic Arts, and the Polish Music Center collaborate on a new one-act opera.
Ignacy Jan Paderewski was a rock star in his day. With his wild red hair, intense good looks and stage charisma, he rocked the musical world with his piano. His tour of the U.S. in 1891 made him the highest-paid musician in the world up to that time. In 1960, he got a star on the Hollywood Walk of Fame.
If his genius had begun and ended there, Paderewski would still be famous. But it didn’t. Paderewski became Prime Minister of his native Poland. He got President Woodrow Wilson to add Polish independence to the 1918 peace terms after WWI and signed the Treaty of Versailles. In 1914, he bought ranch land in Paso Robles, Calif., and became an award-winning Zinfandel maker.
“He’s lived so many lives in one,” said playwright and associate dean of faculty of the USC School of Dramatic Arts Oliver Mayer. “I remember saying out loud: There could be three Paderewskis. And sure enough, that became the title.”
3 Paderewskis is a one-act opera from librettist Mayer, composer Jenni Brandon (a non-degreed USC Thornton School of Music alumna) and director David Bridel (Dean of the USC School of Dramatic Arts). Two and a half years in the making, 3 Paderewskis is one of three winners of the Adam Mickiewicz Institute’s Paderewski Musical Project launched in 2017. It gets its first full-production performance at USC’s Newman Recital Hall on Oct. 12.
After that, the creative team heads to Poznań, Poland, and then the Kennedy Center in Washington, D.C. for its official world premiere. The Nov. 20 Kennedy Center performance will be part of a gala marking the 101st anniversary of Polish independence and a century of Polish and American diplomatic relations.
The performance at USC is slated as the 2019 Paderewski Lecture-Recital hosted by USC’s Polish Music Center, which maintains archives on the famous pianist/composer. Paderewski himself has a connection with USC: In 1923, he was the first musician to be given an honorary degree by the university.
3 Paderewskis has already won another award: a 2018-19 American Prize in Composition. Brandon, a choral singer and conductor, spent two years in Thornton’s doctoral program in composition starting in 2001. “With Morten Lauridsen, the choral god of the 20th century, I learned a lot about writing for choir,” she said. She also studied with Thornton’s celebrated Composition faculty and was involved with the USC Chamber Choir. She will conduct the opera at all three venues.
Expect the Unexpected
“3 Paderewskis is a genre-defying piece,” said Bridel. “It can be described as an opera, but it has elements of oratoria to it and also a few hints of very contemporary musical theater sprinkled in. Expect the unexpected.”
Three singers will represent the three Paderewskis in the opera.
“I love the conceit to divide Paderewski into three different human beings on stage. It allows us to explore different aspects of his inner psyche,” Bridel said. “It’s a unique element of the whole project.”
It may seem surprising to find a mezzo-soprano, in addition to a baritone and tenor, as one of Paderewski’s alter egos. But Mayer had the idea for a female character from day one. Mayer, who sang in choirs as a student at Cornell and Worcester College at Oxford, knew he needed “all the voices.” The soprano comes courtesy of Paderewski’s first wife, Antonina, who died young in childbirth. She appears as a ghost in the opera, which is set during Paderewski’s California years. In addition to the four main characters, the chorus plays many roles, including a Greek Chorus, a crowd listening to Paderewski perform and mourners at a funeral.
When Mayer visited the archives at the Polish Music Center, he listened to some recordings and heard a depth of emotion that he can’t help but think was inspired by Antonina’s death and the death of their child at a young age.
“How can you ever stop thinking about that? Even when he’s happy, underneath it, he’s always going to have that scar,” Mayer said. “You can hear the tremendous sadness in his play.”
Piano Center Stage
Brandon explored the Polish Music Center archives as well. She found programs listing pieces he performed in his concerts and quoted well-known works by Liszt and Chopin — in addition, of course, to music by Paderewski — in her score for piano quartet.
“The audience will feel there’s something familiar,” she said. “They can listen to this for the first time and hopefully walk away and think, ‘That felt good, that felt comfortable.’ They can understand things even if they can’t put their finger on it right away.”
Bridel agreed. “Musically, it’s a very engaging and accessible score. It has many contemporary aspects to it, but it’s always melodic and lyrically attractive. It’s not obtuse for the sake of modernity.”
Naturally, the piano is central to the music and the experience of 3 Paderewskis. With his staging, Bridel places the Central4 Piano Quartet front and center, but also around, between and behind the singers. “This is not just a piece that happens to have been set to music, but rather a piece where music is absolutely fundamental to the story itself and to the human being that is the focus of the story.”
Brandon described Mayer’s writing and her composition in the words of another genre. “He paints these beautiful pictures. It makes it easy for me to set the words because it’s like coloring in a picture that’s already there. … And with David’s direction, it’s almost like looking at snapshots of someone’s life.”
This is not grand opera in the tradition of “Aida,” Mayer said. It’s an intimate chamber opera. “The idea is to try to reach each person in the room. Not to overwhelm them, but to reach them, get to their hearts.”
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2021-11-16T18:05:27+00:00
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en
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Camp Encore/Coda
|
https://encorecoda.com/music-faculty/
|
Suzanne Lehrer
(Lower Camp Piano Specialist)
Faculty Member. Master of Music in Piano Performance, Westminster Choir College of Rider University, Princeton, NJ; Master of Social Work, Rutgers University, New Brunswick, NJ; Bachelor of Arts in Music with a concentration in piano, University of Rochester, Rochester, NY. Studies with Ena Bronstein Barton, German Diez, Harvey Wedeen, Jose Ramos–Santana, Jonathan Bass, Betty Stoloff and with her mother, Phyllis Alpert Lehrer; Piano Faculty, Westminster Conservatory Honors Music Program; Director, Westminster Conservatory Piano Camp. Independent piano studio, Princeton NJ; Member of Music Teachers National Association (MTNA), Arts Advocacy Chairperson, New Jersey Music Teachers Association (NJMTA); Coordinator for NJMTA’s annual Children Helping Children Performathon. 8th summer at E/C.
Helena Kim
(Piano)
Faculty Member. DMA candidate in Piano Performance at the University of Cincinnati (CCM). Performs locally and internationally. She has appeared in various venues in Canada, Korea, Chile, France, Holland, and Spain. Also, she frequently presents at national and state conferences advocating for underrepresented composers and various pedagogical approaches. Helena was trained at the Yewon Art School, at the Saint-Petersburg pre-conservatory in Russia, and received piano performance degrees at the Université de Montréal (AD), McGill University (MMUS), and the University of British Columbia(BSc and BMUS). Helena’s primary teachers are Ran Dank, Kyoko Hashimoto, Mark Anderson, and Eugene Skovorodnikov. Currently, she is working at the University of Akron as the Coordinator of Collaborative Piano. 1st summer at E/C.
JOSIAH STOCKER
(CLASSICAL PIANO)
Faculty Member. Doctor of Musical Arts in Collaborative Piano, University of Maryland, College Park, MD; Master of Music in Accompanying, and Bachelor of Music in Keyboard Performance, University of Idaho, Moscow, ID; studies with Rita Sloan, Jay Mauchley, Jan Rowen Music, performances with St. Rose Camerata (Albany, NY), Aspen Philharmonic (Aspen, CO), Aspen Contemporary Ensemble (Aspen, CO), ECU Loessin Playhouse (Greenville, NC), Interlochen Summer Dance Ensemble (Interlochen, MI), Idaho Repertory Theatre (Moscow, ID); Collaborative Pianist and Vocal Coach, The College of St. Rose (Albany, NY), East Carolina University (Greenville, NC); 2nd summer at E/C.
NORA MELLO
(CLASSICAL PIANO)
Faculty Member. Doctor of Musical Arts candidate in Piano Performance, Cognate in Piano Pedagogy, Texas Christian University, Fort Worth, TX; Master of Music in Piano Performance with Distinction, DePaul University, Chicago, IL; Bachelor of Music in Piano Performance, Bachelor of Arts in Marketing, Michigan State University, East Lansing, MI; studies with Tamas Ungar, George Vatchnadze, Deborah Moriarty, performances at Weill Recital Hall (Carnegie Hall), Orford Music Academy, Internationale Sommerakademie Ettal (Ettal, Germany), Centro Studi Carlo Della Giacoma (Todi, Italy), Brevard Music Festival (Brevard, North Carolina), Encore Chamber Music Festival (Cleveland, Ohio), performances with DePaul Symphony Orchestra (Chicago, Illinois), DePaul Wind Ensemble (Chicago, Illinois), Piano Faculty, DePaul University-Community Music Division, Chicago, IL, Graduate Assistant in Piano, Texas Christian University, Fort Worth, TX; 2nd summer at E/C.
AMY MILLER
(CELLO)
Faculty Member. Doctor of Musical Arts candidate, University of Miami (Henry Mancini Fellow and teaching assistant for the Donna Shalala Musicreach program); Master of Music, University of Texas, El Paso; Bachelor of Music, University of Michigan, Ann Arbor; studies with Igor Zubkovsky, Loran Stephenson (as a member of the National Symphony Youth Fellowship Program), Anthony Elliott, Zuill Bailey, Ross Harbaugh; performances with the Interlochen Center for the Performing Arts, Meadowmount School of Music, Sitka Alaska Cello Seminar Festival, Adrian Symphony (MI), Alexandria Symphony (VA), El Paso Symphony, Las Cruces Symphony; private teacher; member, American String Teachers Association, D.C. Federation of Musicians; 6th summer at E/C.
Shaylen Joos
(Harp)
Faculty Member. Rising sophomore Harp Performance major at the New England Conservatory in Boston, MA; studies with Erica Driscoll and Jessica Zhou of the Boston Symphony Orchestra; finalist of the international Young Artist’s Harp competition and prizewinner in the American Harp Society’s (AHS) national competitions in 2019 and 2021; winner of From the Top’s Jack Kent Cooke Artist’s Award; attended Curtis Institute of Music’s Summerfest Harp Colony in 2019 and 2020; member of the Boston Philharmonic Youth Orchestra; 1st summer at E/C.
PATRICK CROSSLAND, DMA
(trombone)
Faculty Member. Doctor of Musical Arts in Trombone Performance, University of Minnesota; Postgraduate Diploma, Solo Recitalist, Royal College of Music; Master of Music in Trombone Performance, Manhattan School of Music; Bachelor of Music in Trombone Performance, University of Southern Mississippi; studies with Marta Hofacre, Per Brevig, Tom Ashworth; performances with Laboratorium (Europe, North America, South America), Baltimore Symphony Orchestra, Musikfabrik (Germany, Switzerland); instructor of trombone, chamber music, music theory, musicianship, jazz history, improvisation, new music ensemble, University of Maryland Baltimore County; 6th summer at E/C.
Stephen Wadsack
(Trumpet)
Faculty Member; Professor of Trumpet and Director of Jazz Ensembles at Wright State University (Dayton, OH); Master of Music in Trumpet Performance, University of Cincinnati College-Conservatory of Music (CCM); Bachelor of Music Education, University of Wyoming (Laramie, WY); previously on faculty at Wilmington College (OH) and Thomas More University (KY); performance experience with the Cincinnati Symphony May Festival (OH), Dayton Philharmonic Orchestra (OH), Lexington Philharmonic (KY), Blue Ash Montgomery Symphony (OH), Richmond Symphony Orchestra (IN), Kentucky Symphony Orchestra, and Wyoming Symphony Orchestra; member, International Trumpet Guild; 1st summer at E/C.
Arda Cabaoglu DMA
(Trumpet)
Faculty Member. Doctor of Musical Arts in Trumpet Performance and Literature, Eastman School of Music, University of Rochester, Rochester, NY; Master of Music, Advanced Course in Interpretation of Music Performance, Malmö Academy of Music, Lund University, Malmö, Sweden; Master of Music, Dr. Erol Üçer Center for Advanced Studies in Music, Istanbul Technical University, Istanbul, Turkey; Bachelor of Music, Istanbul State Conservatory, Mimar Sinan Fine Arts University, Istanbul, Turkey; studies with James Thompson, Håkan Hardenberger, Bo Nilsson, Olle Sjöberg, Erden Bilgen; performances with New Manhattan Sinfonietta (principal trumpet, New York, NY), Eastman Wind Ensemble (Rochester, NY), Malmö Symphony (Sweden), Istanbul Philharmonic (Istanbul, TR), Presidential Symphony Orchestra, Bilkent Symphony Orchestra (Ankara, TR), Ensemble Échappé, Talea Ensemble, Oratorio Society of New York, Brass at Cathedral of St. John The Divine (New York, NY), The Ritsos Project (Samos, Greece), MIAM Modern Music Ensemble (Istanbul, TR), European Brass Ensemble (Stift-Melk, Austria), Fremantle Chamber Orchestra (Perth, Australia); Adjunct Faculty Member, Rensselaer Polytechnic Institute, Department of the Arts (Troy, NY); Secondary Instructor, University of Rochester, Eastman School of Music (Rochester, NY), Istanbul State Conservatory, Mimar Sinan Fine Arts University (Istanbul, TR), substitute teacher, Manhattan School of Music, Pre-College Music (New York, NY), New York University Steinhardt, Department of Music and Performing Arts Professions (New York, NY); member, International Trumpet Guild (ITG) and Euro-ITG, Historic Brass Society, American Musicology Society, College Music Society; 2nd summer at E/C.
Alex Kahn
(Orchestras)
Faculty Member. Graduate Performance Diploma in Orchestral Conducting, The Peabody Institute (Baltimore, MD); PhD in Music History, UC Berkeley; Bachelor in French Horn Performance, Indiana University, Bloomington; conducting studies with Marin Alsop, Gustav Meier, Markand Thakar, and David Milnes; Director of Orchestra Activities at Sonoma State University (Rohnert Park, CA); Conductor, UC Berkeley Chamber Orchestra (Berkeley, CA); Music Director, The Vintner’s Chamber Orchestra (Sonoma, CA); Assistant Conductor, Santa Rosa Symphony (Santa Rosa, CA); Co-author, Caring for the Whole Musician (Routledge Press, forthcoming); E/C Camper, 1989-1992. 1st summer teaching at E/C.
Austin Hilla, M.Ed.
(Wind Bands, Tuba)
Faculty Member. Doctoral Candidate in Instrumental Conducting at University of Utah; Master of Education in Secondary Music, Vanderbilt University Peabody College of Education and Human Development; Bachelor of Musical Arts, Vanderbilt University Blair School of Music; Studied with Dr. Rebekah Daniel, Scott Hagen, Dr. Thomas Verrier, Gilbert Long; In-service Educator of 10 Years in Utah and Texas; Member of Phi Mu Alpha Sinfonia, National Association for Music Education, Texas Music Educators Association, Utah Music Educators Association, Texas Bandmasters Association, Utah Bandmasters Association; 1st Summer at E/C as a faculty member, 3rd Summer at E/C.
Carlos Hernandez
(Orchestras, Wind Ensemble)
Faculty Member. Doctoral Candidate in Orchestral Conducting at Ball State University (Muncie, IN); Master of Music in Orchestral Conducting, Master of Science in Music Education, Bachelor of Music in Music Education from Florida International University. Has lead numerous outreach music programs internationally in both primary and secondary settings. Additionally, Yoga and Sound Bath teacher and facilitator. 1st summer at E/C.
April Keezing
(VOICE)
Faculty member. Master of Arts in Songwriting candidate, Berklee College of Music. Bachelor of Music in Professional Music, Berklee College of Music, Boston. Online Songwriting Educator, YouTube and Skillshare. Elementary Music Teacher at Congin Elementary School, Westbrook, ME. Private Music Teacher, Settlement Music School and Meridee Winters School of Music. 1st summer at E/C.
MELISSA BIRKHOLD
(BASSOON)
Faculty Member. Master of Music in Bassoon Performance and Literature, Eastman School of Music, Rochester, NY; Bachelor of Music in Bassoon Performance, Peabody Conservatory, Baltimore, MD; studies with William Kaplan, Phil Kolker, John Hunt; performances with Washington Chamber Orchestra, Classical Revolution Baltimore, Symphony Syracuse, Syracuse Opera Company, Orchestra of Northern New York, Eastern Music Festival Orchestras; general music and modern band teacher, Crescent Park School (Bethel, ME) and Woodstock Elementary School (Woodstock, ME), former bassoon teacher, Baltimore School for the Arts, former bassoon teacher, TWIGS program, former instructor, Baltimore Symphony’s OrchKids Program, former musicianship instructor, RocMusic (Rochester, NY); Vision Team Leader, Maine Arts Education Partners in Leadership, Advocacy Chair, Maine Music Educators Association, member, Pi Kappa Lambda National Music Honor Society; 11th summer at E/C.
NATHAN HUBBARD, DMA
(OBOE)
Director of Music. Doctor of Musical Arts in Oboe Performance, Michigan State University, Lansing, MI; Master of Music in Oboe Performance, Master of Music in Piano Pedagogy, Michigan State University, Lansing, MI; Bachelor of Music in Oboe Performance, Baldwin–Wallace Conservatory of Music, Berea, OH; studied with Jan Eberle, Jeffrey Rathbun; performances with Dearborn Symphony Orchestra (Dearborn, MI); private oboe studio, advanced piano and oboe instructor, South Pasadena Arts & Music Academy (South Pasadena, CA), adjunct music faculty, Mt. San Antonio College (Walnut, CA), piano proficiency TA, Michigan State University; member, International Double Reed Society, Music Teacher’s Association of California, College Music Society; 8th summer at E/C.
CG Medina
(Clarinet)
Faculty Member. Professional Studies Diploma, Mannes College the New School for Music, Master of Music in Clarinet Performance, Manhattan School of Music; Bachelor of Music in Music Education, the University of North Carolina at Greensboro; clarinet studies with Charles Neidich, Ayako Oshima, Kelly Burke, Sandy Mosteller, chamber music studies with David Krakauer, Judith Mendenhall, Scott Rawls, Brooks Whitehouse; performances with Merkin Hall, Carnegie Hall, Symphony Space, Avery Fisher Hall, Chamber Music Silicon Valley, Chamber Music Society of New Paltz, International Festival for Contemporary Performance, Summer Institute for Contemporary Performance Practice, and the Norfolk Chamber Music Festival; current Nyack College, Village Community School, Brooklyn New School in New York City. 1st summer at E/C.
Megan Dillon
(saxophone)
Faculty member. Doctor of Musical Arts candidate in Saxophone performance at the New England Conservatory of Music; Masters of Music in saxophone and music theory, with academic honors and a concentration in music education, NEC; Bachelors of Music in music theory, minor in French, with honors, Texas Tech University; High School diploma in Saxophone Performance, with honors, Interlochen Arts Academy. Studies under Kenneth Radnofsky. Teaching Assistant at NEC in counterpoint, music theory, and the saxophone studio. Teaches saxophone, clarinet, and piano for the Boston Philharmonic Orchestra Teaching Fellowship program. Concertmaster of the NEC saxophone ensemble and soprano chair of the Enigma Quartet. Saxophone arrangements published by RC Editions. Studied theory and pedagogy under Roger Graybill and Lyle Davidson. Member of the North American Saxophone Alliance.
ROSE ANAHITA KHORSANDI
(FLUTE)
Master of Music candidate, University of Nebraska Lincoln, Glenn Korff School of Music. Studied at Longy School of Music. Bachelor of Music, with honors, University of Denver, Lamont School of Music; studies with John Bailey, Sooyun Kim, Julie Thornton, Monica Williams; performer at Hayward La Honda, Credo Music, Wisconsin Flute Festival, Panoramic Flutist, Flauti al Castello; member, Sigma Alpha Iota, National Flute Association; taught with El Sistema Somerville, iPlay; certified CPR, First Aid; 3rd summer at E/C.
MADALINA-CLAUDIA DANILA
(CLASSICAL PIANO)
Faculty Member. Doctor of Musical Arts in Piano Performance candidate, Temple University, Philadelphia; Master of Music in Chamber Music, Temple University, Philadelphia; Master of Music and Bachelor of Music in Piano Performance, National University of Music Bucharest, Romania, studies with Josu de Solaun, Lambert Orkis, Sara Davis Buechner; performances with Ad Astra Piano Duo (Romania); Chamber Music Assistant, National University of Music Bucharest; internship, Temple University; 1st summer at E/C.
NORA MELLO
(CLASSICAL PIANO)
Faculty Member. Doctor of Musical Arts candidate in Piano Performance, Cognate in Piano Pedagogy, Texas Christian University, Fort Worth, TX; Master of Music in Piano Performance with Distinction, DePaul University, Chicago, IL; Bachelor of Music in Piano Performance, Bachelor of Arts in Marketing, Michigan State University, East Lansing, MI; studies with Tamas Ungar, George Vatchnadze, Deborah Moriarty, performances at Weill Recital Hall (Carnegie Hall), Orford Music Academy, Internationale Sommerakademie Ettal (Ettal, Germany), Centro Studi Carlo Della Giacoma (Todi, Italy), Brevard Music Festival (Brevard, North Carolina), Encore Chamber Music Festival (Cleveland, Ohio), performances with DePaul Symphony Orchestra (Chicago, Illinois), DePaul Wind Ensemble (Chicago, Illinois), Piano Faculty, DePaul University-Community Music Division, Chicago, IL, Graduate Assistant in Piano, Texas Christian University, Fort Worth, TX; 1st summer at E/C.
JESÚS FUENTES
(JAZZ PIANO)
Faculty Member. Doctor of Musical Arts candidate, University of Illinois at Urbana-Champaign; Master of Music in Jazz Piano Performance, Texas Tech University; Bachelor of Music, Commercial Music, University of Texas at El Paso; performances with Tom Harrell, Allen Vizzutti, Jaleel Shaw, Jiggs Wigham, The Glenn Miller Orchestra, Winnipeg Jazz Festival, Champaign-Urbana Jazz Festival, Orcus O Dis (metal band), accompanied artists such as Joe Ely, Mac Davis, Ian Moore, and Il Divo; Doctoral Fellowship and instructor of group piano and jazz keyboard, University of Illinois at Champaign-Urbana; sponsored by the Promising Artists of the 21st Century Jazz Program to travel to Colombia as a member of the UTEP Jazz Quartet to perform and give masterclasses; recipient, 2015 Presser Undergraduate Scholar Award at the University of Texas at El Paso; 1st summer at E/C.
LINDSAY GASSMAN
(CLASSICAL PIANO)
Senior Counselor. 4th year, Music Education and Performance Majors, University of Florida, Gainesville, FL; studies with Mitchell Estrin; Priscilla Heffield; Dan Ferri; performances with the University of Florida Wind Ensemble (Gainesville, FL), University of Florida Symphony Orchestra (Gainesville, FL), FMEA All State Intercollegiate Band (Tampa, FL), University of Florida Gator Band (Gainesville, FL), University of Florida Symphonic Band (Gainesville, FL), private instructor; member, Tau Beta Sigma National Honorary Band Sorority, National Association for Music Education, certified CPR; clarinet, piano, flute; 1st summer at E/C.
JOSIAH STOCKER
(CLASSICAL PIANO)
Faculty Member. Doctor of Musical Arts in Collaborative Piano, University of Maryland, College Park, MD; Master of Music in Accompanying, and Bachelor of Music in Keyboard Performance, University of Idaho, Moscow, ID; studies with Rita Sloan, Jay Mauchley, Jan Rowen Music, performances with St. Rose Camerata (Albany, NY), Aspen Philharmonic (Aspen, CO), Aspen Contemporary Ensemble (Aspen, CO), ECU Loessin Playhouse (Greenville, NC), Interlochen Summer Dance Ensemble (Interlochen, MI), Idaho Repertory Theatre (Moscow, ID); Collaborative Pianist and Vocal Coach, The College of St. Rose (Albany, NY), East Carolina University (Greenville, NC); 1st summer at E/C.
Sam Vodopia
(VIOLIN)
Faculty Member. Bachelor of Music, Stony Brook University; Studies with Dr. Joanna Kaczorowska; performances with Stony Brook University Orchestra, Metropolitan Youth Orchestra, jazz ensembles (as pianist and violinist), rock bands; composer of music for string ensembles, solo violin, and piano; interest in music theory and improvisation as both a performer and educator, incorporates Suzuki and Dounis methods in violin teaching; 2nd summer at E/C.
GAVON PECK
(VIOLA)
Faculty Member, Yoga Instructor. Graduate Performance Diploma and Master of Music in Viola Performance, Peabody Conservatory, Baltimore, MD; Bachelor of Music in Viola Performance, Utah State University, Logan, UT; studies with Victoria Chiang, Bradley Ottesen; performances with Chamber Encounters (Baltimore, MD), Kennedy String Quartet (DC), York Symphony (sub, York, PA), principal viola, Peabody Conductor’s Orchestra, Symphony, Chamber, Studio, and Modern Orchestras under the batons of Marin Alsop, Joseph Young, David Zinman, and Michael Hersch; Studio Assistant (Peabody) for Victoria Chiang, Graduate Assistant (Peabody) for Elizabeth Tolbert (head of Ethnomusicology), David Gutkin (Musicology), Michael Kannen (head of Chamber Music), Teaching Assistant (USU) for Christopher Scheer (head of Musicology), Rika Asai (Musicology), Joanna Zattiero (Musicology), Mark Emile (General Music); Viola Instructor, Baltimore Bows; Undergraduate Writing Fellow (USU) for Dr. Christopher Scheer; Registered Yoga Teacher (RYT) – 200, ACE Fitness Certified Group Fitness Instructor; certified CPR, First Aid; 1st summer at E/C.
AMY MILLER
(CELLO)
Faculty Member. Doctor of Musical Arts candidate, University of Miami (Henry Mancini Fellow and teaching assistant for the Donna Shalala Musicreach program); Master of Music, University of Texas, El Paso; Bachelor of Music, University of Michigan, Ann Arbor; studies with Igor Zubkovsky, Loran Stephenson (as a member of the National Symphony Youth Fellowship Program), Anthony Elliott, Zuill Bailey, Ross Harbaugh; performances with the Interlochen Center for the Performing Arts, Meadowmount School of Music, Sitka Alaska Cello Seminar Festival, Adrian Symphony (MI), Alexandria Symphony (VA), El Paso Symphony, Las Cruces Symphony; private teacher; member, American String Teachers Association, D.C. Federation of Musicians; 5th summer at E/C.
OLIVER HAGEN+, DMA
(CLARINET, ORCHESTRAL CONDUCTING)
Faculty Member. Doctor of Musical Arts in Conducting, Eastman School of Music, Rochester, NY; Master of Music in Conducting, Eastman School of Music, Rochester, NY; Bachelor of Music in Clarinet Performance and Composition, Eastman School of Music, Rochester, NY; Master of Science in Music Education, Hofstra, Long Island, NY; performances as pianist with Third Coast Percussion in Milan, Turin, NYC, and Chicago (Grammy winning album, 2017), and Lucerne Festival Academy Ensemble and Pierre Boulez (Switzerland), performances as conductor and pianist with Ensemble Signal and Steve Reich (NYC), performances as conductor with Ensemble Intercontemporain (Paris), Gerald Alston of the Manhattans, Russell Thompkins, Jr. of the Stylistics, Howard Hewett of Shalamar, American Composers’ Orchestra (NYC), Musicians of the Orchestre national de Lyon (France), East Coast Contemporary Ensemble (Boston and NYC); Conducting and Chamber Music Faculty, Juilliard Preparatory Division (NYC), Director of Orchestras, Newark Academy (Livingston, NJ), Guest Conductor, Tactus Ensemble, Manhattan School of Music (NYC), Guest Conductor, Philharmonic Orchestra, Mannes Preparatory Division (NYC); 5th summer at E/C.
NATHAN HUBBARD, DMA*
(OBOE)
Assistant Director, Faculty Member. Doctor of Musical Arts in Oboe Performance, Michigan State University, Lansing, MI; Master of Music in Oboe Performance, Master of Music in Piano Pedagogy, Michigan State University, Lansing, MI; Bachelor of Music in Oboe Performance, Baldwin–Wallace Conservatory of Music, Berea, OH; studied with Jan Eberle, Jeffrey Rathbun; performances with Dearborn Symphony Orchestra (Dearborn, MI); private oboe studio, advanced piano and oboe instructor, South Pasadena Arts & Music Academy (South Pasadena, CA), adjunct music faculty, Mt. San Antonio College (Walnut, CA), piano proficiency TA, Michigan State University; member, International Double Reed Society, Music Teacher’s Association of California, College Music Society; 7th summer at E/C.
ROSE ANAHITA KHORSANDI
(FLUTE)
Senior Counselor. Master of Music candidate, Longy School of Music, Bard College; Bachelor of Music, University of Denver; studies with Julie Thornton, Monica Williams, Sooyun Kim; member, National Flute Association; certified CPR, First Aid; 2nd summer at E/C.
NOAH BERMAN
(ROCK BAND, LOWER CAMP ROCK BAND) – Guitar, Faculty Member.
Bachelor of Music in Jazz Guitar, Eastman School of Music, Rochester, NY; performances with Kevin Norton, Steve LaSpina, Bobby Previte, Cibo Matto, Sean Lennon, Pat Sansone (Wilco), Nels Cline (Wilco), Rochester Philharmonic Orchestra, performs on The Planters movie soundtrack (available on Amazon Prime); Performing Arts Faculty, Berwick Academy (South Berwick, ME); 8th summer at E/C.
|
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2
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https://mitmgmtfaculty.mit.edu/esivan/research-and-publications/
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en
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Research & Publications
|
[
"https://mitmgmtfaculty.mit.edu/esivan/wp-content/themes/mitfaculty2021/assets/images/mit_dome.svg",
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] |
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[
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2016-04-06T14:09:02+00:00
|
Research papers posted here cover a variety of topics and questions, organized by keywords.
|
en
|
Ezra Zuckerman Sivan
|
https://mitmgmtfaculty.mit.edu/esivan/research-and-publications/
| ||||||
6669
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| 22
|
https://dctheatrescene.com/2016/05/31/oliver-thornton-playing-bianca-taming-shrew-says-love/
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Oliver Thornton, playing Bianca. What Taming of the Shrew says about love
|
https://dctheatrescene.com/wp-content/themes/dcts-genesis/images/favicon.ico
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https://dctheatrescene.com/wp-content/themes/dcts-genesis/images/favicon.ico
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[
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[
"Lorraine Treanor",
"Guest says"
] |
2016-05-31T00:00:00
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https://dctheatrescene.com/wp-content/themes/dcts-genesis/images/favicon.ico
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https://dctheatrescene.com/2016/05/31/oliver-thornton-playing-bianca-taming-shrew-says-love/
|
“It was as if the audience was holding its breath” I said. “It’s like that every night” he answered.
I was talking with Oliver Thornton who plays Bianca in Shakespeare Theatre Company’s all male The Taming of the Shrew. He had found a quiet room at the National Gallery of Art and was happily ensconced in a comfortable chair as we talked by phone. I’d seen his performance the night before so the image of his tall, willowy Bianca was fresh in my mind.
Those opening lines were part of the discussion we both knew must be had – that most difficult scene which every director of Shrew must face – Katherina’s final monologue. But first I asked about what it was like to play the part of a woman.
“I’ve played various degrees of drag” – perhaps most notably, Oliver played Felicia in the London production of Priscilla Queen of the Desert – “but this is the first time I’m asking the audience to take that leap of faith, to believe I am a fully realized woman.”
He wasn’t concerned with physically portraying Katherina’s beautiful sister. “I have a dance background so I have some mixed experiences playing roles in the more feminine vein,” he continued.
While Bianca’s movements and high heels weren’t an issue for Oliver, he wears two corsets which, he admits, “I’m glad to take off at the end of the evening.” We talked of the stamina the show requires. Most of the cast doesn’t leave the stage for intermission, but instead continue acting out the wedding banquet as part of a charming ‘Intermezzo.’ And then there is the pre-show, and, of course, all that transformational costuming and makeup. Each performance requires more than 5 hours time. Double that on weekends.
“It does require endurance,” he added. “People think [a performance] happens automatically. But it’s hard work for all departments, crew, stage management, if we’re doing our jobs well. This is a big show, epic in many many ways.”
During the Intermezzo, the audience is invited onstage where the wedding banquet continues on all levels of the set and audiences can watch the characters interact and take up instruments scattered about and break into song. Oliver, whose Bianca is falling in love with Telly Leung’s Lucentio, performs Duncan Sheik’s ‘Barely Breathing.’ “I can hear the audience sing along in parts of that one… The Intermezzo is my favorite part of the evening. I adore it. I never feel I would rather be sitting downstairs with a cup of tea. It is so special and so gratifying to be singing to someone who is a foot away.”
The hardest part has been finding the psychological journey of his character. “The truth is it took a lot of time. It was a huge responsibility. I wanted to make sure that women sitting in the audience didn’t feel like my performance was disrespectful or in any way towards the stereotypical.
“Speaking to a lot of young women it was interesting to hear about the social expectations of women, how they should act, how they should speak, and that young, modern women are still imposed on in that way, are still asked to behave differently because they are a woman.”
DCTS reviews The Taming of the Shrew
“When I sort of relaxed and stopped worrying about it, I realized I don’t really need to think in a different way. As men and women, maybe we are told how we are meant to think or feel, or behave but we don’t really look at the world with different eyes. So, the reality is all I need to do is play the truth of the scene because that is the truth of the character. And it just so happens she’s a woman. That’s the biggest journey and it continues to grow.”
And thus we arrived at Katherina’s final “I am ashamed that women are so simple” monologue. How does he feel about the speech? And how does Bianca feel?
“The second act has some difficult themes, those taming scenes, for example. And it is a very difficult thing to reconcile yourself – whether you are a woman or a man – to that last speech, hearing it through today’s filters. I spent hours wondering what Shakespeare meant when he wrote it. Was he expressing how he felt about women because he lived in a different time, or was he making a comment on mysogyny.
“But I do know our director [Ed Sylvanus Iskandar] wanted to explore the notion of love in its many many forms and how, when we truly love someone, deeply love, how we learn to compromise, to submit – not in the way of giving up, but of giving. Saying I love you so much I can be what you need me to be.
“Bianca came from a more traditional setup – she was married off to the richest suitor. When she hears [Katherina’s] words, she understands something she never thought possible [about love]. In that last moment, when Bianca and the Widow kneel with Katherina, I really believe it is about the solidarity of sisterhood. I think it’s a beautiful moment.”[ezcol_1third]
——–
The Taming of the Shrew
closes June 26, 2016
Details and tickets
——–[/ezcol_1third]Another interesting thing is the director’s take on Hortensio (played by Tom Story, wearing traditional cutaway, but with glimmering silver high heels]. “I’ve never seen that before. I think what the director wants the audience to take away is that there are different types of love. So that what Hortensio finds in the Widow (Rick Hammerly) is someone who accepts him as he is.”
“This nontraditional take on the show may not be everyone’s cup of tea, but I hope people come along, keep an open mind and allow it to be what it is. I think they will find it’s a wonderfully entertaining evening, and that’s what theatre is about and should be.”
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https://www.nytimes.com/2018/01/18/arts/design/the-outsider-fair-once-more-confirms-that-art-is-everywhere.html
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The Outsider Fair Once More Confirms That Art Is Everywhere
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2018-01-18T00:00:00
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This year’s fair captures the field on the cusp of change, part of an ever-widening mainstream with two major museum exhibitions ahead.
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https://www.nytimes.com/2018/01/18/arts/design/the-outsider-fair-once-more-confirms-that-art-is-everywhere.html
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The 2018 Outsider Art Fair arrives this weekend at a time when the very concept of outsider art — work made by self-taught or developmentally impaired artists — has never seemed more capacious or in flux. At the moment, “The Beautiful Mind: The Drawings of Santiago Ramón y Cajal,” at Grey Art Gallery presents renderings by a Spanish neuroanatomist that revolutionized understanding of the brain but increasingly hold their own as modernist drawings. And “Murder Is Her Hobby: Frances Glessner Lee and the Nutshell Studies of Unexplained Death,” at the Smithsonian’s Renwick Gallery in Washington, contains tiny dioramas originally used as forensic aids by police, that also presage setup photography of the 1970s and ’80s.
Other changes include the increasing presence of outsider artists in galleries where you’d least expect them. David Lewis, who oversees a large, pristine and hip gallery on the Lower East Side, is working with the Souls Grown Deep Foundation on a show of the work of Thornton Dial, a towering figure among outsiders of the South, known for his startlingly rough-hewed paintings whose surfaces can include basically anything: rugs, tree branches and wire. On Jan. 25 Mr. Lewis’s gallery will inaugurate its representation of the artist with a show intriguingly titled “Mr. Dial’s America.” Until Sunday, there’s a big Dial front and center at the fair: “A Bird Will Always Try to Fly” (1991), an avian creature with the markings of a tiger pursued by two figures, at Fred Giampietro.
Two major museum exhibitions signal greater inclusion in the art historical scheme. On Jan. 28, the National Gallery of Art in Washington will unveil “Outliers and American Vanguard Art,” an exhibition of some 300 works by about 90 artists trained and self-taught. It will examine how attention to folk and outsider art — from artists, collectors and museums — has ebbed and flowed through the 20th century. And in May the Metropolitan Museum of Art, which has a large collection of mostly 19th-century American folk art will take the plunge with a show centering on the 57 works by black Southern outsiders — including Dial — it recently received from the Souls Grown Deep Foundation. It’s inspiring title: “History Refused to Die.” That refusal rings loud and clear in this year’s Outsider Art Fair. Some of the supporting evidence:
RICCO/MARESCA If you want to start with some masterpieces, go for a drawing here by the great and prolific Martín Ramírez that is unlike any I’ve ever seen. In it, his radiating architectural motifs frame an uncharacteristically soft Edenic landscape that includes several trees, one spouting a rainbow of leaves.
FLEISHER/OLLMAN Also in the masterpiece range: two extremely rare drawings by P. M. Wentworth, a contemporary of Ramírez. His “Imagination: Jupiter=Planet” from around 1953 provides a typically Wentworthian worldview. We see the Earth curve: God in her kingdom and varied landscapes alive with meandering stone walls.
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https://www.dailykos.com/stories/2016/12/11/1607683/-Before-Elvis-and-Janis-there-was-Big-Mama-Thornton
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Before Elvis and Janis there was Big Mama Thornton
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Willie Mae "Big Mama" Thornton was born in Ariton, Alabama on December 11, 1926 , so today would have been her 90th birthday. She died alone and in poverty on July 25, 1984 in a Los Angeles ...
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https://www.dailykos.com/stories/2016/12/11/1607683/-Before-Elvis-and-Janis-there-was-Big-Mama-Thornton
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Willie Mae "Big Mama" Thornton was born in Ariton, Alabama on December 11, 1926, so today would have been her 90th birthday. She died alone and in poverty on July 25, 1984 in a Los Angeles boarding house.
She was exposed to music at a young age in the church where her father was a minister, and grew up singing in its choir, along with her mother and six siblings. When Thornton was only 14 years old, her mother died, and she took a job in a saloon to help make ends meet at home. Music promoter Sammy Green soon discovered Thornton and recruited her to join his Atlanta-based Hot Harlem Revue. She remained with the group for seven years, contributing drum and harmonica parts to the show as well as vocals. In 1948, she settled in Houston, Texas, determined to advance her career as a singer.
Thornton succeeded in making professional inroads in Houston, and in 1951 she signed a contract with Peacock Records—her first recording deal. The following year, she recorded the song "Hound Dog," which would be her biggest hit. Authorship of the song is a matter of dispute, however. Both Johnny Otis, who produced the track, and the songwriting team of Jerry Leiber and Mike Stoller have claimed credit for the song. In 1953, "Hound Dog" reached number one on the R&B charts, making Thornton a star. The song was also a hit for Elvis Presley, whose 1956 cover targeted a young, white audience. Unlike Presley, however, Thornton received little compensation for her chart-topping performance.
In the 1997 Ebony Magazine article by Keven Chappell titled “How blacks invented rock and roll: R&B stars created foundations of multibillion-dollar music industry,” the piece opens with a reference to Big Mama and Elvis.
Before Elvis Presley sang “Hound Dog,” Big Mama Thornton has house-trained that canine. Before Bill Haley & the Comets popularized “Shake, Rattle & Roll,” Big Joe Turner had done all three. The Crewcuts’ “Sh-Boom” was originally sung by The Chords, and The Beatles’ “Roll over Betthoven” was rocked by Chuck Berry well before the boys from Liverpool “invaded” America.
It continues to be the biggest lie in the music industry—that Whites created rock ‘n roll. From history books to rock-oriented cafes, from the pretentious Graceland mansion to the corner record store, White rock ‘n roll artists have been immortalized and credited with creating the multibillion-dollar rock music industry.
Lost is the reality that rock ‘n roll was actually born out of the belly of Black blues music and raised by Black artists in the 1950s smoke-filled clubs along Beale Street in Memphis 47th Street in Chicago and 125th Street in Harlem. Only years later, when White teenagers began openly digging the electric guitars and the pounding drum beats that Black artists were playing—a sound their parents had disparagingly labeled “race” and “rhythm and blues” music—did White disc jockey Alan Freed re-name it “rock ‘n roll,” and white artists entered the lucrative field without stigma.
There’s irony in the fact that British musicians returned black music to the U.S.—albeit in a different-colored package.
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Big Mama Thornton: The Life and Music by Michael Spörke is one of the few full biographies written about her.
You ain't nothing but a "Hound Dog" ... with these words shouted into the microphone she will always be remembered: Big Mama Thornton. Who is this woman who sang the megahit "Hound Dog" before Elvis Presley and who wrote "Ball & Chain," the song that catapulted Janis Joplin to sudden fame? The story begins with her first musical attempts in the Hot Harlem Revue as a girl of 14. Then the book follows her journey into the Mecca of Texas Blues, Houston, where Big Mama Thornton met Johnny Otis, with whom she recorded her greatest success--"Hound Dog." With the slowdown of the blues in the early sixties this book follows Big Mama Thornton's way to California, discusses her struggle to survive and celebrates her impressive musical comeback in the course of the blues revival and the hippie movement. With the end of the sixties, facing a declining interest in the old school blues, the book shows how Big Mama Thornton found her niche in clubs and festivals in the U.S. and Europe. The book then follows Big Mama Thornton through the seventies and eighties until her untimely death.
In her review of the book for the ARSC Journal, Elizabeth Hille Cribbs wrote:
Sporke's book proceeds chronologically through Thornton's life while allowing some deviations from the general timeline to provide context behind the issues, persons, industries, and movements that had a significant impact on Thornton's career. Sporke divides the book into chapters that align with the significant periods in her performing career: the early years and how she started performing in Atlanta; her travels to Houston and her recording of "Hound Dog"; her move from Texas to California and how her success at the 1964 Monterey Jazz Festival led to her performance at the German-based American Folk Blues Festival in 1965; the first of her European tours; how Joplin popularized "Ball and Chain"; her transition into rock music that coincided with managerial issues and the impact that those difficulties had on her career; her second European tour in 1972 and the toll that illness and alcohol started to take on her body; and finally her touring and performance work from the mid-seventies until her death in 1984.
Throughout the book, Sporke provides in-depth background explanations that give often-crucial context to the performance details that remain the central focus. A reader using this text will learn about Thornton and her incredibly impactful career, but they will also begin to understand some of the ugly realities of race relations and their constraints and impact on African American performers during Thornton's career. Readers will also see the importance of lesser-known performance venues such as the Bronze Peacock and the Eldorado Ballroom in Houston and the "chitlin [performing] circuit" in the South, and they will also realize how the European love for jazz and blues revitalized Thornton's career.
Understanding these elements is crucial to seeing why "Big Mama" Thornton is such a towering influence on twentieth-century popular music, and Sporke combines contextual explanations with copious performance details taken from primary sources such as performance and recording reviews and interviews with Thornton and over fifty of her contemporaries. Because Sporke was limited to the interviews and primary source materials that he could find and use, not all aspects of Thornton's life receive equally in-depth treatment. However, the tone of the book remains even and fair, and Sporke wields the power that these resources provide with sensitivity and insight.
Analyzing Thornton’s life and work from a more sociopolitical perspective, feminist scholar Minnie Bruce Pratt wrote a recent article titled “‘BIG MAMA’ THORNTON and reparations:”
You have probably heard of Elvis Presley and perhaps even heard him sing, “I ain’t nothin’ but a hound dog.” This was ”the signature song” that propelled him to fame and estimated lifetime earnings of $4.3 billion. It is less likely you have heard of Willie Mae “Big Mama” Thornton. She first recorded “Hound Dog” in 1952 and received $500 in payment, her only earnings from the song.The discrepancy between their fates has been described as “perhaps the most notorious example of the inequity that often existed when a black original was covered by a white artist,” says the Encyclopedia of Alabama. But the difference between Thornton and Presley is more than “inequity.”
This is injustice — pointing to the need for reparations to African-American people for the theft of Black music. An article titled “For Old Rhythm-and-Blues, Respect and Reparations,” published in the New York Times on March 1, 1997, describes the theft so shameful and pervasive that the Rhythm & Blues Foundation has been forced out of music corporations like Atlantic Records and Time-Warner.The foundation money — far less than “reparations” — assists older African- American R&B artists who received few or no royalties from corporations and are now unable to pay medical bills and rent.
She notes:
“Ball and Chain” was named by the Rock and Roll Hall of Fame as one of the “500 Songs that Shaped Rock and Roll.” But in 1984, the year Thornton was inducted into the Blues Hall of Fame, she died in poverty in Los Angeles.
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Anthropologist Maureen Mahon, author of Right to Rock: The Black Rock Coalition and the Cultural Politics of Race, wrote “Listening for Willie Mae "Big Mama" Thornton's Voice: The Sound of Race and Gender Transgressions in Rock and Roll,” published in the journal Women & Music.
She speaks to her own interest in exploring Thornton:
(Black) Feminist Perspectives on Rock-and-Roll History
My motivation for exploring Thornton's rock-and-roll legacy stems in part from a frustration with the marginal position black women occupy in mainstream histories of the genre--for example, in The Rolling Stone Illustrated History of Rock & Roll and multipart television documentaries produced by Time-Life and PBS during the 1990s. (1) Within these narratives, assumptions about musical genre and social identity come together in ways that are problematic for black women; the narratives position white male artists at the center of the story as the real rock and rollers and overlook black women's impact on rock and roll. In recent years, race-conscious feminist scholars have examined the involvement of women in a range of musical endeavors and explored the ways factors like race, class, and sexuality shape their experiences.
She goes on to note:
Before telling these stories I want to comment on a common assumption about Thornton's sexuality. One of the first things that many colleagues have said when I mention that I am researching Thornton is, "You know she was a lesbian." Actually, having been unable to locate any material documenting her sexual or romantic relationships, I don't know this. My interviews with several people who knew and worked with Thornton in the 1960s, 1970s, and 1980s yielded stories about men with whom she was involved but no mentions of female partners. Thornton was a private person, and no one I spoke with claimed that they knew her really well. Consequently, for the purposes of this article and to avoid wrongly closeting or outing Thornton, I defer discussion of her private life and instead focus on her public image. Here, she was a transgressor par excellence. Thornton made a conscious choice to present herself onstage in ways that many thought signaled that she was a lesbian. I find it difficult to imagine that she would have been unaware of this possibility, so what is significant to me is that she was comfortable projecting this image--mostly a result of her decision to appear onstage in pants and work shirts and sometimes in men's suits--in the years before gay liberation. In other words, she didn't try to appear straight. These choices are evidence of an unconventional, transgressive, and liberated form of black femininity that rejects prevailing expectations of how women should comport themselves to secure respectability. Steeped in working-class, African American blues culture and possessing a powerful sense of self, Thornton followed her muse in terms of musical, interpersonal, and sartorial choices--a textbook example of rock-and-roll attitude and speaking clearly in one's own voice.
No one has been able to pin down Thornton’s sexuality in contrast to much of the “out” history of blues artists like Ma Rainey, who is one of the musicians explored in “Singing the Lesbian Blues in 1920s Harlem.”
Author Lisa Hix writes about the social context of the time period:
The blues itself was condemned by black preachers. After the turn of the century, smokey blues cabarets proliferated in urban areas with large African American populations, which would draw almost exclusively black audiences, who made Ma Rainey and Bessie Smith stars. (The Cotton Club in Harlem, which only allowed white audience members to watch black performers, was a notable exception.) By the 1920s, record labels like Decca, Columbia, Paramount, and RCA were producing shellac 78s targeted toward African American consumers, known as “race records,” and these included popular blues tunes.
Around the same time, urban industrialization, the development of the electrical grid, and the introduction of cars gave young women more personal money, free time, and options than they ever had before. In the late 1910s, so-called “flappers” rejected the constricting corsets of their Victorian mothers, wearing short haircuts and skin-exposing dresses that were both androgynous and provocative. These women went out dancing and drinking at clubs, and embraced promiscuity.
It’s likely that the flapper movement took some cues from these blues divas, who were on the cutting edge of that sexual revolution in the 1910s, flouting conventions about proper women left and right. “They drank, and they dressed in a flashy and flamboyant manner,” Philipson says. “They were not subservient to men in any fashion, and that was not the model of post-Victorian womanhood that was in mainstream culture at the turn of the century.
The racier recordings of blues artists were not played in my home when I was growing up. It wasn’t until I was older—in my early 30s, working at radio station WPFW-FM, and exploring the music of female blues and jazz artists, that I heard Ma Rainey and Gladys Bentley. The station hosted Sophie's Parlor, the oldest women's radio collective on-air, and they played a lot of blues.
As a music lover, I am grateful to Smithsonian Folkways for their work in preserving the legacy of artists like Big Mama and so many others.
Smithsonian Folkways Recordings is the nonprofit record label of the Smithsonian Institution, the national museum of the United States. We are dedicated to supporting cultural diversity and increased understanding among peoples through the documentation, preservation, and dissemination of sound. We believe that musical and cultural diversity contributes to the vitality and quality of life throughout the world. Through the dissemination of audio recordings and educational materials we seek to strengthen people's engagement with their own cultural heritage and to enhance their awareness and appreciation of the cultural heritage of others. Smithsonian Folkways is part of the Smithsonian Center for Folklife and Cultural Heritage.
Our mission is the legacy of Moses Asch, who founded Folkways Records in 1948 to document "people's music," spoken word, instruction, and sounds from around the world. The Smithsonian acquired Folkways from the Asch estate in 1987, and Smithsonian Folkways Recordings has continued the Folkways commitment to cultural diversity, education, increased understanding, and lively engagement with the world of sound.
For those of you who are fans of the blues, this year the Smithsonian acquired Arhoolie Records.
The collection features seminal recordings by artists such as Bukka White, Big Mama Thornton, Lightnin’ Hopkins, Mance Lipscomb, Mississippi Fred McDowell, Big Joe Williams, Flaco Jiménez, and Clifton Chenier. More recent releases include those by the Savoy Family Band, the Magnolia Sisters, and the Pine Leaf Boys. Hear Me Howling, a collection of recordings made in the Bay-area in the 1960s, won a GRAMMY award in 2011. In the same year, the label issued a GRAMMY-nominated retrospective box set celebrating Arhoolie’s 50th anniversary.
If you are new to blues, or to Big Mama, there’s no better introduction than her live album with Muddy Waters.
Many people who grew up during the ‘60s were fans of Janis Joplin, Big Brother, and the Holding Company. Joplin, who covered Big Mama’s Ball and Chain, is in the Rock and Roll Hall of Fame, Big Mama is not.
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As I mentioned earlier, many British artists took the U.S. charts by storm with their renditions of black blues. The flip side to that is that Europe has offered appreciative audiences and venues for black American musicians, artists. and writers for many decades.
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Big Mama Thornton in Europe
Recorded live on October 20, 1965 in London, England.
Big Mama Thornton - Vocals,Buddy Guy - Lead Guitar, Eddie Boyd - Organ,Fred Below - Drums Jimmy Lee Robinson - Bass
Today, I celebrate her music, and the music of all those women who have sung and continue to sing the blues.
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Main Stage Community Theatre
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2024-06-05T00:00:00
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Amazing lineup of local performances ranging from youth and adult theatre, dance troupes, music concerts, and regional acts. The artistic heartbeat of our surrounding community is truly reflected through our high quality theatrical productions and educational outreach programs in Bluffton and Hilton
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en
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https://images.squarespace-cdn.com/content/v1/5f4c50f4f1f9626067f89829/1602189264337-85L6IFEO8P6HRCZOH2S3/favicon.ico?format=100w
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Main Stage Community Theatre
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https://www.mainstagecommunitytheatre.org
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Calling all aspiring actors - We’re excited to announce auditions for our upcoming production of Jekyll & Hyde, the Musical! Set to take the stage this September at Seahawk Cultural Center, Hilton Head High School, this thrilling musical promises to captivate audiences with its unforgettable characters and powerful songs.
The Lowcountry’s best and brightest come out to shine for a good cause as 11 local celebrities will be taking the stage for Dancing With the Stars 2024 at Seaquins Ballroom in Bluffton, SC.
Calling all aspiring actors - We’re thrilled to announce auditions for our upcoming production of Oliver! Set to grace the stage this June in Hilton Head, this award-winning musical promises to captivate audiences with its unforgettable characters and timeless songs. Click through for complete audition information.
JULY 8-12 & JULY 15-19 - Theatre Broadway Summer Camp - Join us for one or two weeks of musical theatre training. Each week will be filled with amazing classes taught by a professional staff of working artists from New York City, along with virtual lessons and Q&A sessions with current Broadway stars!
We are pleased to announce auditions for the Spring 2024 production of "Our Town!" Join us in bringing Thornton Wilder's classic to life on our stage. This Pulitzer Prize-winning play explores the beauty of everyday life and the connections that bind us. Whether you're a seasoned actor or new to community theatre, we invite you to audition.
Main Stage Community Theatre is thrilled to announce a new partnership with Sea Glass Stage Company! This collaboration is a total win-win and further helps our arts community to bring even more opportunities for creativity and diversity. The three-year partnership includes providing space for multiple MSCT shows at Coligny Theatre.
Under the mentorship of Michelle McElroy-Cox who is Hilton Head Christian Academy’s Theater Director and a frequent MSCT Director, Millie Gilbreath and Emma Kate Dalzell are two high school students that have taken on the challenge of being co-directors for the musical as part of a very special school project.
During the 2023 Football season, WHHI-TV's Community Leader Award is presented to someone within the local community who has demonstrated outstanding leadership efforts. As the award presenter, Main Stage Community Theatre will be hand-selecting one worthy organization or individual to honor each week.
Now auditioning! Get ready to be spellbound this November as Main Stage Community Theatre proudly presents its magical production of Into The Woods, Jr. This show is directed by Amelia Gilbreath and Emma Kate Dalzell with mentorship from Michelle McElroy Cox. All actors interested in this production must be between ages 9 and 18 years of age.
Now auditioning for The Wedding Singer! April 26th and 27th. Please prepare a brief comedic monologue and 1 minute of a song of your choice to sing with a backup track you bring, OR acapella. Also, be prepared with the dance combination we provide. Read through for complete audition details.
Community theatre is an incredible opportunity for local youth to explore their creative talents, build confidence, and develop important life skills. Main Stage Community Theatre believes that every young person should have the chance to experience the joy and fulfillment of performing arts.
Auditions will be held Wednesday, December 14 6pm - 8pm, and Thursday, December 15 6pm - 8pm. Performances dates are March 3,4,5 at The Seahawk Cultural Center at Hilton Head Island High School.
Main Stage Community Theatre invites you to audition for Neil Simon’s hilarious classic, The Odd Couple. Directed by Ron Ruckle. Casting 6 men and 2 women - 18+. Show dates are the weekends of Feb. 17th, 18th, and 19th and Feb. 24th, 25th, and 26th.
We are pleased to announce the cast of Footloose- The Musical, taking the stage in Hilton Head on November 11-13 & 18-20, 2022. Full of high-energy dancing and singing, this is a show you don’t want to miss! Bursting to life with music, romance, and dance.
We are pleased to announce the 2022 cast of The Sound of Music! Show dates are June 24-26, and July 1-3, 2022. Join the family Von Trapp in the true-life telling of one of history’s most thrilling and inspirational stories. Featuring the Tony, Grammy and Academy Award-winning Best Score, including “My Favorite Things,” “Do-Re-Mi,” “Climb Ev’ry Mountain,” and more!
The Island Packet’s “Best of Awards” are back, and we need your support. Nominate the Main Stage Community Theatre as “Best Live Theatre” by going to https://www.votelowcountry.com. After you fill out the information, go under category for "Things to Do", and select "Live Theatre". With your help, we’re hoping to receive the 2022 distinguished award for Best Live Theatre in the Lowcountry!
Help keep the hills alive with “the sound of music” this Spring! The Main Stage Community Theatre is casting a variety of roles of all ages, actors, dancers, and singers for another amazing production. Schedule an in-person audition for The Sound of Music on stage this May.
MARCH 11 - 13, 2022, TICKETS ON SALE NOW - Join us for dinner and the hilariously popular, off-Broadway performance of, “I love you. You’re perfect. Now change.” Following the highs and lows of first dates, first loves, marriages, babies, in-laws, and growing old together, this hilarious and poignant show pays tribute to those who have loved and lost and to those who have dared to ask someone out on a date.
Birdies for Charity is a fast, easy and fun way to donate to Main Stage Community Theatre. 100% of your donation goes directly to support the theatre. Heritage Classic Foundation will contribute an extra 10% on top of your donation. It’s like a walk-a-thon, but instead of donating per mile, participants either make a pledge for every birdie made during the tournament or make a flat donation.
Local Community Theatre is here to stay! Some claim that the theatre and the art of performance is dying, but we could not disagree more. There are many ways in which local Lowcountry community theatre is important, ranging from furthering education to self-expression, introducing change, and so much more. Read on for 5 reasons we think community theatre is so important.
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6669
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dbpedia
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| 6
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https://libguides.brooklyn.cuny.edu/music1300/chapter5
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en
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Brooklyn College Library LibGuides Home at Brooklyn College Library
|
https://libguides.brooklyn.cuny.edu/ld.php?screenshot=cdcjie.png&size=facebook&cb=1723853859
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https://libguides.brooklyn.cuny.edu/ld.php?screenshot=cdcjie.png&size=facebook&cb=1723853859
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A site for students and teachers of MUSIC 1300, a course in Music Appreciation at Brooklyn College, CUNY Chapter 5
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en
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https://library.brooklyn.cuny.edu/favicon.ico
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https://libguides.brooklyn.cuny.edu/music1300/chapter5
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As has been true of all periods, music of the last hundred or so years is related to past traditions yet has developed modes of expression that are distinctly modern and depart from earlier practices. Works of art are always in some respect reflective of the time in which they were created and, conversely, shape our perception of the period in which they were produced. Some music readily speaks to us because we are in some way connected to its historical and cultural context, yet often the closer works of art are to us in time, the more alien and inaccessible they seem. This is not a new phenomenon. Artists have traditionally been visionaries, creators of new ways of experiencing and communicating that challenge our comprehension. Insight into the circumstances of a work’s genesis and what the composer set out to accomplish can help us listen with more sympathy and understanding.
In the early decades of the 20th century, many creative artists were reacting against the aesthetics and values of Romanticism. The composer Igor Stravinsky and the painter/sculptor Pablo Picasso are among the important figures whose works reflect their interest in tribal societies and the primitive, ritualistic dimension of the human psyche that was the subject of Freud’s research and writings. One of the most radical departures from past music traditions was Arnold Schoenberg’s “method of composing with twelve tones” that rejected principles of a key center and the distinction between consonance and dissonance that had been the foundation of Western music for centuries. Because of the absence of a tonic, twelve-tone music is often called “atonal,” a term to which Schoenberg objected, or “serial” because the compositional technique involves manipulation of a germinal series of pitches. Schoenberg’s theoretical writings and his serial works have had great impact on subsequent generations of composers. While twelve-tone describes Schoenberg’s compositional procedure, his style is classified as expressionist. Expressionism was an early 20th-century movement that sought to reveal through art the irrational, subconscious reality and repressed primordial impulses postulated and analyzed in the writings of Freud.
Another important development during the early decades of the 20th century was awakening of interest among American visual artists, novelists, poets, playwrights, choreographers, and composers in creating works that reflected a distinctly American, as opposed to a European, sensibility. In music, the renowned Czech composer Antonin Dvorak, who visited the United States during the 1890s, challenged Americans to compose their own music based on native folk materials. His own Symphony # 9 (1893), written during his stay in America, was evocative of the African American spiritual. By the 1920s American composers like George Gershwin and Aaron Copland were incorporating the rhythms and blues tonality of jazz into their symphonic works. Gershwin’s 1924 piece, Rhapsody in Blue, is the best-known work from this genre. During the 1930s and early 1940s, Copland, Gershwin, Virgil Thomson, and Roy Harris drew from an array of American folk styles including spirituals, blues, cowboy songs, folk hymns, and fiddle tunes in composing their populist symphonic works.
American composers of the early 20th century also sought to create distinctly new works by engaging in radical experimentation. Charles Ives, writing in the first two decades of the century, was the first American to move away from the Romantic European conventions of form and style by employing dissonance, atonality, complex rhythms, and nonlinear structures. These ideas were continued by the American experimental composers Henry Cowell, Conlon Nancarrow, Edgar Varèse, and Ruth Crawford Seeger in the 1920s and 1930s. By the 1940s and into the post–World War II years, American avant-garde composer John Cage would challenge listeners to completely rethink what constituted music and art through his radically experimental works that drew from new technology, performance art, and Eastern systems of thought and aesthetics. Cage paved the way for the so-called “downtown” New York experimental scene that broke down barriers between music, visual art, performance, and so forth. Cage’s interest in non-Western music inspired the minimalist composers including Terry Riley, Steve Reich, and Philip Glass, who would draw on African and Asian musical systems in the 1960s and 1970s.
This interest in non-Western music in the last 50 years is a result of the unprecedented contact between different cultures. For most of human history, musical repertories have evolved largely in isolation from one another, so musical experiences have been principally confined to the music of an individual’s own immediate culture. Today the opportunities to hear music and the types of music that are available have expanded dramatically as a result of modern technology and increased contact among peoples. Modern modes of travel and communication and technologies for recording music invented since the end of the 19th century have removed barriers that isolated different musical traditions and repertories from each other. A typical music store in the United States today has sections devoted to recordings covering the entire span of European classical music from the Middle Ages to the present, world music, and repertories that evolved during the 20th century such as jazz and rock. Music from distant times and places is also featured in the programming of some radio stations, television stations, and online music sites. Residents of large cities and those living near college campuses have opportunities to hear live performances by musicians trained in other cultural traditions or specializing in early music, as well as concerts by orchestras, opera companies, and soloists performing standard classical repertory. For musicians, the globalization of music has opened new doors and dissolved old boundaries. Performers study and gain mastery in repertoires of cultures other than their own, and composers can draw on literally the entire world of music in creating new crossover styles.
Modern technology has made possible not only the preservation and broad dissemination of music, but has also become a source for the generation and manipulation of musical sounds. One of the earliest devices that created musical sounds by electronic means, the Theremin (named after its inventor, the Russian scientist, Leon Theremin) was introduced in the early 1920s. Using the numerous technologies that were developed in the following decades, composers recorded musical tones or natural sounds that they transformed by mechanical and electronic means and sometimes supplemented with others generated electronically in a studio. This raw material was then assembled for playback, either as a self-sufficient composition or combined with live performance. Today, technology-based composition has become a widely available process through the storage of sound samples in home computers. Synthesized, sampled, and digitally altered sounds are commonly used for special effects in popular music, movie scores, and works for the concert hall. There is also a repertory in which the tone color dimension of sound is what the work is about. Comparable to the abstract painter whose materials are the basic elements of shape and color, the composer constructs a succession of aural events of unique tone color, dynamics, and registration.
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https://www.theatrecr.org/about/past-shows/
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Theatre Cedar Rapids
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2016-01-12T19:49:39+00:00
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2022-23 Misery By William Goldman, Directed by Rachel Howell (Grandon Studio) Meet Me in St. Louis directed by Lisa Kelly Cabaret directed by Angie Toomsen A Doll’s House by Henrik Ibsen, directed by Carrie Pozdol (Grandon Studio) A Doll’s House, Part 2 by Lucas Hnath, directed by Caroline Price (Grandon Studio) The Play That Goes Wrong directed by […]
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en
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https://www.theatrecr.org/favicon.ico
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Theatre Cedar Rapids
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https://www.theatrecr.org/about/past-shows/
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Past Shows
2022-23
Misery By William Goldman, Directed by Rachel Howell (Grandon Studio)
Meet Me in St. Louis directed by Lisa Kelly
Cabaret directed by Angie Toomsen
A Doll’s House by Henrik Ibsen, directed by Carrie Pozdol (Grandon Studio)
A Doll’s House, Part 2 by Lucas Hnath, directed by Caroline Price (Grandon Studio)
The Play That Goes Wrong directed by Joe Link
The SpongeBob Musical directed by Lisa Kelly
Rock of Ages directed by Chris Okiishi
Madagascar: A Musical Adventure directed by Lisa Kelly (Brucemore)
A Little Night Music by Hugh Wheeler and Stephen Sondheim, Directed by Lisa Kelly (Brucemore)
2021-22
Let the Right One In By Jack Thorne, Directed by Patrick Du Laney (Grandon Studio)
Rodgers & Hammerstein’s Cinderella directed by Angie Toomsen
Kinky Boots directed by Lisa Kelly
Dance Nation by Clare Barron, directed by Angie Toomsen (Grandon Studio)
Rodgers & Hammerstein’s The Sound of Music directed by Brian Glick
Mamma Mia directed by Christopher Okiishi
Elephant and Piggie’s “We are in a play!” directed by Lisa Kelly (Brucemore)
Once directed by Angie Toomsen (Brucemore)
For Peter Pan on her 70th Birthday by Sarah Ruhl directed by David Morton (Brucemore)
2020-21
Dear Broadway: A Love Letter in Concert (Virtual)
Megan Gogerty’s Feel Better (Virtual)
Amy Friedl Stoner in Concert (Virtual)
St. Nicholas by Conor McPherson, directed by Angie Toomsen (Brucemore)
TCR at Home for the Holidays (Virtual)
Divas 2021: An Evening with Lynne and Janelle (Virtual)
Out of Bounds by Jennifer Fawcett with Working Group Theatre, directed by Angie Toomsen (Virtual)
Alisabeth Von Presley in Concert (Virtual)
An Evening of Motown with Alicia Monee (Virtual)
TCR Flash Play Fest: Halloween Horror Night (Virtual)
2019-20
Hello, Dolly! directed by Brian Glick
Dracula adapted by William McNulty, directed by Kehry Anson Lane (Grandon Studio)
Matilda the Musical directed by Angie Toomsen
A Gentleman’s Guide to Love and Murder directed by Angie Toomsen
The Humans by Stephen Karam, directed by Angie Toomsen (canceled opening week)
The Skin of Our Teeth by Thornton Wilder directed by Kevin Moore (Virtual)
Underground New Play Festival – Theme: The Mysterious (Virtual)
2018-19
My Fair Lady directed by Angie Toomsen
Intimate Apparel by Lynn Nottage, directed by Deanna Downs (Grandon Studio)
Elf the Musical, directed by Joe Link
The Full Monty, directed by Cavan Hallman
Shakespeare in Love Stoppard/Norman, adapted for stage by Lee Hall, directed by Angie Toomsen
Ada and the Memory Engine by Lauren Gunderson, directed by Lisa Kelly (Grandon Studio)
12,000 Voices: 12 Angry Men Performed by 12 Impassioned Women, directed by Marty Norton
The Hunchback of Notre Dame directed by Angie Toomsen
Ripcord by David Lindsay-Abaire, directed by David Morton (Grandon Studio)
Newsies directed by Amy Osatinski
Underground New Play Fest – Out There: Science, Technology, Fantasy & Humanity (Grandon Studio)
Aurora, by Rob Merritt, directed by Katy Hahn – Underground Festival Headliner (Grandon Studio)
2017-18
Grease, directed by Angie Toomsen
Dead Man’s Cell Phone by Sarah Ruhl, directed by Daniel Kelchen (Grandon Studio)
Annie, directed by James Kern
Wild Party, directed by Mattew Weedman
The Diary of Anne Frank, directed by Angie Toomsen
Bent by Martin Shermin, directed by Matthew James (Grandon Studio)
Joseph and the Amazing Technicolor Dreamcoat, directed by Angie Toomsen
Fuddy Meers by David Lindsay-Abaire, directed by Jason Alberty (Grandon Studio)
Heathers the Musical, directed by Emma Drtina
Underground New Play Festival (Grandon Studio)
2016-17
Sister Act the Musical, directed by Leslie Charipar
Disney’s Beauty and the Beast
Next Fall by Geoffrey Nauffts, directed by Angie Toomsen
Assassins, directed by Leslie Charipar
Underground New Play Festival (Grandon Studio)
The Crucible by Arthur Miller, directed by Jason Alberty
Vinegar Tom by Caryl Churchill, directed by J. West (Grandon Studio)
Peter Pan, directed by Leslie Charipar
The Bully Plays, directed by Amanda Mayfield (Grandon Studio)
Billy Elliot the Musical, directed by Angie Toomsen
2015-16
The Last Five Years, directed by Emma Drtina (Grandon Studio)
Calendar Girls, directed by Angie Toomsen
The Weir
A Christmas Story The Musical, directed by Leslie Charipar
Avenue Q, directed by Leslie Charipar
Disney’s The Little Mermaid, directed by Casey Prince
Next to Normal, directed by Angie Toomsen
Hamlet, directed by Jason Alberty
Rosencrantz and Guildenstern are Dead, directed by Erica Jo Lloyd (Grandon Studio)
2014-15
Underground New Play Festival, Various (Grandon Studio)
Into The Woods, directed by Leslie Charipar
Shrek The Musical, directed by Casey Prince
The Santaland Diaries/Season’s Greetings, directed by Richie Akers and Zach Parker
Dreamgirls, directed by Leslie Charipar
Doubt, A Parable, directed by Scott Humeston (Grandon Studio)
Rodgers & Hammerstein Classics In Concert, directed by Brian Glick and Cameron Sullenberger (Paramount Theatre)
The Great Gatsby, directed by Leslie Charipar
Clybourne Park, directed by Angie Toomsen (Grandon Studio)
Disney’s Mary Poppins, directed by Leslie Charipar
The Burnt Part Boys, directed by Leslie Charipar (Grandon Studio)
A Chorus Line, directed by Angie Toomsen
2013-14
Underground New Play Festival, Various Directors (Grandon Studio)
The Music Man In Concert, directed by Cameron Sullenberger (Paramount Theatre)
Jesus Christ Superstar, directed by Leslie Charipar
Jake’s Women, directed by Scott Humeston (Grandon Studio)
Miracle on 34th Street, directed by Leslie Charipar
Monty Python’s Spamalot, directed by Leslie Charipar
for colored girls who have considered suicide/when the rainbow is enuf, directed by Angie Toomsen (Grandon Studio)
To Kill A Mockingbird, directed by Leslie Charipar
God of Carnage, directed by J. David Carey (Grandon Studio)
Les Miserables, directed by Leslie Charipar
2012-13
Camp Rock, directed by LD Kidd
November, directed by Jason Alberty (Grandon Studio)
Bloody Bloody Andrew Jackson, directed by Leslie Charipar
Underground Play Festival, Various Directors (Grandon Studio)
Meet Me In St. Louis, directed by Casey Prince
Summerland Project, directed by Leslie Charipar
Title of Show, directed by Leslie Charipar (Grandon Studio)
Legally Blonde, directed by Casey Prince
R.U.R., directed by Jason Alberty (Grandon Studio)
The Wizard Of Oz, directed by Leslie Charipar
Our Town, directed by Leslie Charipar (Grandon Studio)
Spring Awakening, directed by Leslie Charipar
2011-12
13 The Musical, directed by Casey Prince
Superior Donuts, directed by Leslie Charipar
Damn Yankees, directed by Trevor Debth
Underground Play Festival, Various Directors (Grandon Studio)
A Christmas Carol, directed by Leslie Charipar
The Importance of Being Earnest, directed by Leslie Charipar
Gross Indecency: Three Trials of Oscar Wilde, directed by Jason Alberty (Grandon Studio)
The Wedding Singer, directed by Leslie Charipar
Five Women Wearing The Same Dress, directed by Angie Toomsen (Grandon Studio)
Alice In Wonderland, directed by Leslie Charipar
On Golden Pond, directed by Richard Barker (Grandon Studio)
Hairspray, directed by Leslie Charipar
2010-11
25th Annual Putnam Country Spelling Bee, directed by Leslie Charipar
Six Characters In Search Of An Author, directed by Jason Alberty
White Christmas, directed by Casey Prince
Crimes of the Heart, directed by Leslie Charipar
Sweeney Todd, directed by Leslie Charipar
Eurydice, directed by Leslie Charipar
Lion, The Witch, and the Wardrobe, directed by Jason Alberty
Guys and Dolls, directed by Casey Prince
2009-10
Altar Boyz, directed by Casey Prince (TCR Lindale)
Rock ‘n’ Roll, directed by Leslie Charipar (TCR Lindale)
Annie, directed by Casey Prince (TCR Lindale)
The Laramie Project, directed by Jason Alberty (TCR Lindale)
The Producers, directed by Leslie Charipar
Proof, directed by J. David Carey
Still Life With Iris, directed by Leslie Charipar
Rent, directed by Leslie Charipar
2008-09
Gypsy, directed by Leslie Charipar (McKinley Middle School)
The Children’s Hour, directed by Leslie Charipar (Turner House Chapel)
The Rocky Horror Show, directed by Damon Cole (TCR Lindale)
The Sound of Music, directed by Leslie Charipar (TCR Lindale)
Lost in Yonkers, directed by Leslie Charipar (TCR Lindale)
Fences, directed by Leslie Charipar (TCR Lindale)
Hair, directed by Leslie Charipar (TCR Lindale)
High School Musical Reunion, directed by Casey Prince (TCR Lindale)
School House Rock Live!, directed by Casey Prince (TCR Lindale)
2007-08
West Side Story, directed by Richard Barker
The Sting, directed by Richard Barker
The Rocky Horror Show, directed by Richard Barker
Seussical, directed by Richard Barker
Noises Off, directed by Jason Alberty
Divapalooza2, directed by Richard Barker & SPT Theatre
Fiddler on the Roof, directed by Leslie Charipar
High School Musical, directed by Casey Prince (Linn-Mar High School)
2006-07
Disney’s Jungle Book, directed by Casey Prince
Hans Christian Anderson, directed by Richard Barker & SPT Theatre
Cash on Delivery, directed by J. David Carey
Angels in America I, directed by Richard Barker
Angels in America II, directed by Richard Barker
The Full Monty, directed by Richard Barker
Disney’s Aladdin Jr., directed by Casey Prince
2005-06
Peter Pan, directed by Richard Barker
Triple Espresso
It’s a Wonderful Life, directed by Richard Barker
Underground Passages, directed by Richard Barker & SPT Theatre
A Streetcar Named Desire, directed by Jason Alberty
Enchanted April, directed by Richard Barker
My Way – A Musical Tribute to Frank Sinatra, directed by Damon Cole
Urinetown, directed by Richard Barker
2004-05
Disney’s Beauty and the Beast, directed by Richard Barker
A Christmas Story, directed by Richard Barker
One Flew Over the Cuckoo’s Nest, directed by J. David Carey
Revolution: 1963-1973, directed by Richard Barker & SPT Theatre
Steel Magnolias, directed by Leslie Charipar
Man of La Mancha, directed by Richard Barker
Grease, directed by Alison Shafer & Damon Cole
2003-04
Wonder of the World, directed by Richard Barker
The Shape of Things, directed by J. David Carey
Home for the Holidays, directed by Richard Barker
Treasure Island, directed by J. David Carey
Laura, directed by Leslie Charipar
Dearly Departed, directed by Richard Barker
Cabaret, directed by Richard Barker
Big River – The Adventures of Huckleberry Finn, directed by Michael Cervantes
2002-03
Smokey Joe’s Cafe, directed by Damon Cole
Cosi, directed by Richard Barker
The Wizard of Oz, directed by Richard Barker
Over the River and Through the Woods, directed by J. David Carey
Inspecting Carol, directed by Richard Barker
Honk!, directed by Richard Barker
La Cage Aux Follies, directed by Michael Cervantes
2001-02
Forever Plaid, directed by Damon Cole
Dracula, directed by Richard Barker
Cinderella, directed by Richard Barker
Scotland Road, directed by J. David Carey (Linge Series)
Misery, directed by Richard Barker (Linge Series)
The Rocky Horror Show, directed by Richard Barker (1st Baptist Church)
The Complete History of America (Abridged), directed by Richard Barker
Anything Goes, directed by Michael Harrington
2000-01
Moon Over The Cedar: The Prom That Time Forgot, directed by Richard Barker (Great America Building)
Proposals, directed by Richard Barker
You’re a Good Man, Charlie Brown, directed by James Kern
The Miracle Worker, directed by J. David Carey
Jerry & Tom, directed by Scott Humeston (IACT Festival)
Communicating Doors, directed by Richard Barker (Linge Series)
Driving Miss Daisy, directed by J. David Carey (Linge Series)
Tommy, directed by Richard Barker
1999-00
40’s on First directed by Richard Barker (GreatAmerica Building)
Picasso at the Lapin Agile directed by Richard Barker
A Christmas Carol directed by J. David Carey
The Diary of Ann Frank directed by Richard Barker
The Mystery of Irma Vep directed by Richard Barker (Linge Series)
Pride’s Crossing directed by J. David Carey (Linge Series)
Pump Boys and Dinettes directed by Richard Barker
Crazy for You directed by Richard Barker
1998-99
Little Show of Horrors directed by Richard Barker
Miracle on 34th Street directed by Richard Barker
Oleanna directed by J. David Carey
Prelude to a Kiss directed by James Kern (Linge Series)
To Kill a Mockingbird directed by Richard Barker
Laughter on the 23rd Floor directed by Richard Barker
Joseph and the Amazing Technicolor Dreamcoat directed by Damon Cole and Alison Shafer
1997-98
Beehive directed by Richard Barker
The Twilight Zone directed by Richard Barker
It’s a Wonderful Life directed by Richard Barker
The Complete Works of William Shakespeare (Abridged) directed by J. David Carey (Linge Series)
Sylvia directed by Richard Barker (Linge Series)
The Three Musketeers directed by J. David Carey
The Boys Next Door directed by Richard Barker
The Best Little Whorehouse in Texas directed by Susan Chamber
1996-97
A Chorus Line directed by Damon Cole and Alison Shafer
Frankenstein directed by Richard Barker
Peter Pan directed by Richard Barker
The Woman in Black directed by J. David Carey (Linge Series)
Jake’s Women directed by Richard Barker (Linge Series)
Funny Money directed by J. David Carey
Hello, Dolly! directed by James Kern
1995-96
The Odd Couple directed by Richard Barker
Forever Plaid directed by Damon Cole and Alison Shafer
The Best Christmas Pageant Ever directed by Richard Barker
Run for your Wife directed by J. David Carey
Sherlock’s Last Case directed by Richard Barker (Linge Series)
The Glass Menagerie directed by J. David Carey (Linge Series)
The Secret Garden directed by Richard Barker
Freedom Fest Revue directed by Richard Barker
1994-95
Nunsense 2: The Second Coming directed by Richard Barker
Starmites directed by Richard Barker
17 Days directed by Jim Cada
The Heidi Chronicles directed by Julia Fischer (Linge Series)
The Manchurian Candidate directed by Richard Barker (Linge Series)
Love, Sex and the IRS directed by Richard Barker
42nd Street directed by Richard Barker
1993-94
A Funny Thing Happened on the way to the Forum directed by Richard Barker
Willy Wonka and the Chocolate Factory directed by Richard Barker
Drop Dead directed by Richard Barker
The Lion in Winter directed by J. David Carey (Linge Series)
Lettice and Lovage directed by Richard Barker (Linge Series)
Love Letters (Grandy Special)
Children of a Lesser God directed by J. David Carey
Echoes directed by Richard Barker
1992-93
Oliver directed by Richard Barker
Love Letters directed by Roy Hamlin (Brucemore)
The Bouffants directed by Richard Barker
Educating Rita directed by J. David Carey (Brucemore)
The Best Christmas Pageant Ever directed by Richard Barker
Rumors directed by Richard Barker
M Butterfly directed by Richard Barker (Linge Series)
Accomplice directed by Richard Barker
Grease directed by James Kern
1991-92
Steel Magnolias directed by Richard Barker
A Christmas Carol directed by Richard Barker
Wait Until Dark directed by Richard Barker
Who’s Afraid of Virginia Woolf? directed by Craig Campbell (Linge Series)
The Boys Next Door directed by Richard Barker (Linge Series)
An Inspector Calls directed by J. David Carey (Brucemore)
The Music Man directed by Richard Barker
Madeline’s Rescue directed by Richard Barker
1990-91
Nunsense directed by Richard Barker
Cinderella directed by Paul Otteson
Annie directed by Richard Barker
The Madwoman of Chaillott directed by Richard Barker
Vanities directed by Craig Campbell
Big River directed by Richard Barker
Wind in the Willows directed by Paul Otteson
Nunsense directed by Richard Barker (Brucemore)
1989-90
Dracula directed by Richard Barker
The Sound of Music directed by Richard Barker
Side by Side by Sondheim directed by Richard Barker
Equus directed by Richard Barker
Barnum directed by Richard Barker
Arsenic and Old Lace directed by Rick Titus (Brucemore)
1988-89
Godspell directed by Richard Barker
Peter Pan directed by Richard Barker
Snoopy directed by Richard Barker
Noises Off directed by Richard Barker
Corpse directed by J. David Carey
Andrew Lloyd Webber’s Starlight Express directed by Richard Barker
Birthday Party directed by J. David Carey (Studio)
The Mousetrap directed by Rick Titus (Brucemore)
1987-88
Little Shop of Horrors directed by Richard Barker
Christmas Suite directed by Richard Barker
Brighton Beach Memoirs directed by Richard Barker
The Foreigner directed by Richard Barker
Fiddler on the Roof directed by Richard Barker
Agnes of God directed by Richard Barker (Studio)
Extremities directed by Richard Barker (Studio)
Pinnochio directed by Paul Otteson
I Do, I Do directed by Rick Titus (Brucemore)
Mass Appeal directed by Richard Barker (First Congregational Church)
1986-87
Camelot directed by Richard Barker
Requiem for a Heavyweight directed by Richard Barker
Belle of Amherst directed by Richard Barker (Brucemore)
A Christmas Collection directed by Richard Barker
Vincent directed by Richard Barker (Coe College)
The Odd Couple (Female Version) directed by Richard Barker
Come back to the Five and Dime Jimmy Dean, Jimmy Dean directed by Richard Barker
Clarence Darrow directed by Richard Barker (Cedar Rapids Courthouse)
Amadeus directed by Richard Barker
The Wizard of Oz directed by Paul Otteson
1985-86
Working directed by Richard Barker
Ordinary People directed by Richard Barker
Barefoot in the Park directed by Richard Barker
Romeo and Juliet directed by Richard Barker
Jesus Christ Superstar directed by Richard Barker
Alice in Wonderland directed by Paul Otteson
1984-85
On Golden Pond directed by Richard Barker
Sleuth directed by Richard Barker
Sixth Season: The Sequel directed by Richard Barker
The Elephant Man directed by Richard Barker
Joseph and The Amazing Technicolor Dreamcoat directed by Richard Barker
1983-84
Auntie Mame directed by Richard Barker
Anything Goes directed by Richard Barker
See How They Run directed by Richard Barker
To Kill a Mockingbird directed by Richard Barker
Man of La Mancha directed by Richard Barker
1982-83
Tribute directed by Richard Barker (Strand Theatre)
Funny Girl directed by Richard Barker (Paramount Theatre)
Sixth Season: A Time to Recover directed by Richard Barker (Strand Theatre)
Gingerbread Lady directed by Richard Barker (Strand Theatre)
Working directed by Richard Barker (Strand Theatre)
They’re Playing our Song directed by Richard Barker (Washington High School)
1981-82
Chapter Two directed by Richard Barker (Strand Theatre)
Hello, Dolly! directed by Richard Barker (Paramount Theatre)
The Sly Fox directed by Richard Barker (Strand Theatre)
Jacques Brel is Alive and Well and Living in Paris directed by Richard Barker (Stouffers Ballroom)
A Streetcar Named Desire directed by Richard Barker (Strand Theatre)
Deathtrap directed by Richard Barker (Strand Theatre)
1980-81
Of Mice and Men directed by Mick Denniston (Strand Theatre)
The Music Man directed by Mick Denniston (Paramount Theatre)
Hotel Paradiso directed by Mick Denniston (Strand Theatre)
Pippin directed by Mick Denniston (Strand Theatre)
Same Time Next Year directed by Mick Denniston (Strand Theatre)
1979-80
Vanities directed by Mick Denniston (Strand Theatre)
My Fair Lady directed by Mick Denniston (Paramount Theatre)
She Stoops to Conquer directed by Mick Denniston (Strand Theatre)
Streets of New York directed by Mick Denniston (Strand Theatre)
A View From the Bridge directed by Mick Denniston (Strand Theatre)
1978-79
One Flew Over the Cuckoos Nest directed by Mick Denniston (Strand Theatre)
Bullshot Crummond directed by J. David Carey
Fiddler on The Roof directed by Mick Denniston (Paramount Theatre)
Station directed by Mick Denniston (Strand Theatre)
Lovers directed by Mick Denniston (IACT Festival)
A Funny Thing Happened on the Way to the Forum directed by Mick Denniston (Strand Theatre)
6 RMS, RV View directed by Mick Denniston (Strand Theatre)
Antigone (Studio)
The Good Doctor directed by Mick Denniston (CRCT Summer Rep)
Arms and the Man directed by J. David Carey (CRCT Summer Rep)
Roar of the Greasepaint, Smell of the Crowd directed by Richard Barker (CRCT Summer Rep)
1977-78
A Thousand Clowns directed by Doug Anderson (Strand Theatre)
The Sound of Music directed by Bob Geuder (Paramount Theatre)
Story Theatre directed by Mick Denniston (Strand Theatre)
Something’s Afoot directed by Mick Denniston (Strand Theatre)
Cat On A Hot Tin Roof directed by Mick Denniston (Strand Theatre)
1976-77
Private Lives directed by Joe Sax (Strand Theatre)
The Fantasticks directed by Joe Sax (Strand Theatre)
Veronica’s Room directed by Joe Sax (Strand Theatre)
Cabaret directed by Joe Sax (Strand Theatre)
Arsenic and Old Lace directed by Joe Sax (Strand Theatre)
1975-76
Catch Me if you Can directed by Don Tescher (Strand Theatre)
Godspell directed by Don Tescher (Strand Theatre)
The Sunshine Boys directed by Don Tescher (Strand Theatre)
The Little Foxes directed by Don Tescher (Strand Theatre)
I Do, I Do directed by Don Tescher (Strand Theatre)
Mikado directed by Joe Sax (Coe College)
1974-75
Jabberwock directed by Don Tescher (Strand Theatre)
My Three Angels directed by Don Tescher (Strand Theatre)
Stop the World I Want to Get Off directed by Don Tescher (Strand Theatre)
J.B. directed by Don Tescher (Strand Theatre)
The Prisoner of Second Avenue directed by Don Tescher (Strand Theatre)
1973-74
Carousel directed by Don Tescher (Strand Theatre)
Life With Father directed by Don Tescher (Strand Theatre)
Play it Again, Sam directed by Don Tescher (Strand Theatre)
The Tempest directed by Don Tescher (Strand Theatre)
Effect of Gamma Rays On Man-in-the-Moon Marigolds directed by Don Tescher (Strand Theatre)
1972-73
Butterflies are Free directed by Don Tescher (Strand Theatre)
You’re a Good Man, Charlie Brown directed by Don Tescher (Strand Theatre)
The Last of the Red Hot Lovers directed by Don Tescher (Strand Theatre)
Promises, Promises directed by Don Tescher (Strand Theatre)
Old Times directed by Don Tescher (Strand Theatre)
1971-72
Don’t Drink The Water directed by Don Tescher (Strand Theatre)
Child’s Play directed by Don Tescher (Strand Theatre)
Forty Carats directed by Don Tescher (Strand Theatre)
The Taming of The Shrew directed by Don Tescher (Strand Theatre)
Dames at Sea directed by Don Tescher (Strand Theatre)
1970-71
You Know I Can’t Hear You When The Water’s Running directed by Don Tescher (Strand Theatre)
Dark of The Moon directed by Don Tescher (Strand Theatre)
Mame directed by Don Tescher (Strand Theatre)
Death of a Salesman directed by Don Tescher (Strand Theatre)
Plaza Suite directed by Don Tescher (Strand Theatre)
1969-70
Star Spangled Girl directed by Don Tescher (Strand Theatre)
Who’s Afraid of Virginia Woolf? directed by Don Tescher (Strand Theatre)
Red Peppers directed by Don Tescher (Strand Theatre)
Black Comedy directed by Don Tescher (Strand Theatre)
A Hatful of Rain directed by Don Tescher (Strand Theatre)
Man of La Mancha directed by Don Tescher (Strand Theatre)
1968-69
The Rivalry directed by Don Tescher (Strand Theatre)
Generation directed by Don Tescher (Strand Theatre)
The Teahouse of the August Moon directed by Don Tescher (Strand Theatre)
Wait Until Dark directed by Don Tescher (Strand Theatre)
The Amorous Flea directed by Don Tescher (Strand Theatre)
1967-68
The Odd Couple directed by Don Tescher (Strand Theatre)
The Mousetrap directed by Don Tescher (Strand Theatre)
Any Wednesday directed by Don Tescher (Strand Theatre)
A Raisin in the Sun directed by Don Tescher (Strand Theatre)
Half a Six Pence directed by Don Tescher (Strand Theatre)
1966-67
Spoon River Anthology directed by Don Tescher (Strand Theatre)
The Hasty Heart directed by Don Tescher (Strand Theatre)
Guys and Dolls directed by Don Tescher (Strand Theatre)
Arms and the Man directed by Don Tescher (Strand Theatre)
Barefoot in the Park directed by Don Tescher (Strand Theatre)
1965-66
South Pacific directed by Don Tescher (Coe College)
John Brown’s Body directed by Don Tescher (Strand Theatre)
Mary, Mary directed by Don Tescher (Strand Theatre)
Androcles and the Lion directed by Don Tescher (Strand Theatre)
Everybody Loves Opal directed by Don Tescher (Strand Theatre)
Never Too Late directed by Don Tescher (Strand Theatre)
1964-65
The Fantasticks directed by Don Tescher (Strand Theatre)
A Thousand Clowns directed by Don Tescher (Strand Theatre)
Julius Ceasar directed by Don Tescher (Strand Theatre)
A Streetcar Named Desire directed by Don Tescher (Strand Theatre)
Blithe Spirit directed by Don Tescher (Strand Theatre)
1963-64
Auntie Mame directed by Don Tescher (Strand Theatre)
The Miracle Worker directed by Don Tescher (Strand Theatre)
Under the Yum Yum Tree directed by Don Tescher (Strand Theatre)
Macbeth directed by Don Tescher (Strand Theatre)
My Fair Lady directed by Don Tescher (Strand Theatre)
1962-63
Rashomon directed by Don Tescher (Strand Theatre)
The Fourposter directed by Don Tescher (Strand Theatre)
All the Way Home directed by Don Tescher (Strand Theatre)
Little Mary Sunshine directed by Don Tescher (Strand Theatre)
Come Blow Your Horn directed by Don Tescher (Strand Theatre)
Carnival directed by Don Tescher (Coe College)
1961-62
A Majority of One directed by Robert Behr (Strand Theatre)
Dial M for Murder directed by Robert Behr (Strand Theatre)
Look Homeward Angel directed by Robert Behr (Strand Theatre)
The Pleasure of His Company directed by Robert Behr (Strand Theatre)
Damn Yankees directed by Robert Behr (Strand Theatre)
1960-61
The Tender Trap directed by Robert Behr (Strand Theatre)
Little Lee Bobo directed by Robert Behr (Strand Theatre)
Monique directed by Robert Behr (Strand Theatre)
Hole in the Head directed by Robert Behr (Strand Theatre)
The Dark at the Top of the Stairs directed by Robert Behr (Strand Theatre)
Pal Joey directed by Robert Behr (Strand Theatre)
The Philadelphia Story directed by Roger Morden (Strand Theatre)
Babes in Arms directed by Robert Behr (Strand Theatre)
1959-60
Visit to a Small Planet directed by Ben Small (Strand Theatre)
Spider’s Web directed by Ben Small (Strand Theatre)
The Diary of Anne Frank directed by Ben Small (Strand Theatre)
Bus Stop directed by Ben Small (Strand Theatre)
Bells are Ringing directed by Ben Small (Strand Theatre)
The Show Off directed by Max Hahn (Summer Workshop)
1958-59
Morning’s at Seven directed by Don Tescher (Strand Theatre)
Inherit the Wind directed by Don Tescher (Strand Theatre)
Arsenic and Old Lace directed by Don Tescher (Strand Theatre)
The Boyfriend directed by Don Tescher (Strand Theatre)
1957-58
Man of Destiny directed by Don Tescher (Strand Theatre)
The Great Catherine directed by Don Tescher (Strand Theatre)
Witness for the Prosecution directed by Don Tescher (Strand Theatre)
On Borrowed Time directed by Don Tescher (Strand Theatre)
King of Hearts directed by Don Tescher (Strand Theatre)
Guys and Dolls directed by Don Tescher (Strand Theatre)
The Matchmaker directed by Don Tescher (Strand Theatre)
1956-57
The Solid Gold Cadillac directed by Don Tescher (Strand Theatre)
The Rainmaker directed by Don Tescher (Strand Theatre)
The Caine Mutiny Court Marshal directed by Don Tescher (Strand Theatre)
Remarkable Mr. Pennypacker directed by Don Tescher (Strand Theatre)
The Teahouse of August Moon directed by Don Tescher (Strand Theatre)
1955-56
Happy Birthday directed by Don Tescher (Strand Theatre)
Command Decision directed by Don Tescher (Strand Theatre)
The Moon is Blue directed by Don Tescher (Strand Theatre)
Angel Street directed by Don Tescher (Strand Theatre)
Crisis at Quiet Springs directed by Don Tescher (Strand Theatre)
1954-55
Stalag 17 directed by Don Tescher (Strand Theatre)
Gigi directed by Don Tescher (Coe College)
The Madwoman of Chaillott directed by Don Tescher (Coe College)
Pygmalion directed by Don Tescher (Coe College)
My Three Angels directed by Don Tescher (Coe College)
1953-54
Private Lives directed by Don Tescher (Coe College)
Bell, Book and Candle directed by Don Tescher (Coe College)
Country Girl directed by Don Tescher (Coe College)
Mr. Roberts directed by Don Tescher (Coe College)
The Innocents directed by Don Tescher (Coe College)
1952-53
The Happy Time directed by Don Tescher (Coe College)
Ladies In Retirement directed by Don Tescher (Coe College)
Hay Fever directed by Don Tescher (Coe College)
Detective Story directed by Don Tescher (Coe College)
The Corn is Green directed by Don Tescher (Coe College)
1951-52
Charley’s Aunt directed by Don Tescher (Coe College)
An Inspector Calls directed by Don Tescher (Coe College)
Blithe Spirit directed by Don Tescher (Coe College)
Antigone directed by Don Tescher (Coe College)
Holiday directed by Don Tescher (Coe College)
1950-51
Born Yesterday directed by John Mcelaney (YMCA Little Theatre)
The Glass Menagerie directed by John Mcelaney (YMCA Little Theatre)
The Women directed by John Mcelaney (YMCA Little Theatre)
Payment Deferred directed by John Mcelaney (YMCA Little Theatre)
Goodby My Fancy directed by John Mcelaney (YMCA Little Theatre)
See How they Run directed by John Mcelaney (YMCA Little Theatre)
1949-50
The Late George Apley directed by Burt French (Coe College)
Claudia directed by Burt French (Coe College)
A Young Man’s Fancy directed by Burt French (Coe College)
The Time of Your Life directed by Burt French (Coe College)
Night in a House directed by Burt French (Coe College)
Sound of Hunting directed by Burt French (Coe College)
1948-49
Years Ago
Guest In the House
The Drunkard
Night Must Fall
1939-40
A Murder Has Been Arranged (YMCA)
Susan and Gold (YMCA)
Cradle Song (YMCA)
Yes, My Darling Daughter (YMCA)
1938-39
Petticoat Fever (YMCA)
Tonight at 8:30 (YMCA)
Hands Across the Sea (YMCA)
Escape (YMCA)
Spring Dance (YMCA)
Kind Lady (YMCA)
1937-38
Ah Wilderness! (YMCA)
Yellow Jack directed by Mervin Severence (YMCA)
Throwback directed by Mervin Severence (YMCA)
Dark Tower directed by Mervin Severence (YMCA)
1936-37
Ceiling Zero (YMCA)
The Far-Off Hills (YMCA)
Devil Passes (YMCA)
Meal Ticket (YMCA)
The Night of January 16th directed by Marvin Gallway (YMCA)
1935-36
The Bad Man directed by Macdonald Carey (YMCA)
Candelight (YMCA)
Counselor-At-Law (YMCA)
As The Sun Sets (YMCA)
The Late Christopher Bean (YMCA)
1934-35
See Naples and Die directed by Edmund Evans (YMCA)
Loyalties (YMCA)
Night Over Taos (YMCA)
Michael and Mary (YMCA)
Saturday’s Children (YMCA)
Winding Road (YMCA)
1933-34
Whistling in the Dark directed by Mary Lackersteen and Hazel Brown
Lysistrata directed by Mary Lackersteen and Hazel Brown
Mrs. Moonlight directed by Mary Lackersteen and Hazel Brown
Miracle Play directed by Mary Lackersteen and Hazel Brown
This One Man directed by Mary Lackersteen and Hazel Brown
Three One Act Plays directed by Mary Lackersteen and Hazel Brown
Mad Hopes directed by Mary Lackersteen and Hazel Brown
1932-33
Broadway directed by Mary Lackersteen and Hazel Brown
Behold This Dreamer directed by Mary Lackersteen and Hazel Brown (McKinley Jr. High)
Hotel Universe directed by Mary Lackersteen and Hazel Brown
Last Mile directed by Mary Lackersteen and Hazel Brown (McKinley Jr. High)
Three Original One Act Plays directed by Mary Lackersteen and Hazel Brown
Nineteenth Hole directed by Mary Lackersteen and Hazel Brown
1931-32
Show-Off directed by Mary Lackersteen and Hazel Brown
Sun-Up directed by Mary Lackersteen and Hazel Brown
Last of Mrs. Cheyney directed by Mary Lackersteen and Hazel Brown
Ten Nights in a Bar Room directed by Mary Lackersteen and Hazel Brown
Interference directed by Mary Lackersteen and Hazel Brown
Marriage of Convenience directed by Mary Lackersteen and Hazel Brown
1930-31
Aren’t We all? directed by Mary Lackersteen and Hazel Brown (1st Congregational Church)
Craig’s Wife directed by Mary Lackersteen and Hazel Brown (1st Congregational Church)
Journey’s End directed by Mary Lackersteen and Hazel Brown (1st Congregational Church)
Meet The Wife directed by Mary Lackersteen and Hazel Brown (1st Congregational Church)
A Kiss for Cinderella directed by Mary Lackersteen and Hazel Brown (1st Congregational Church)
Sham directed by Mary Lackersteen and Hazel Brown (1st Congregational Church)
1929-30
Dover Road directed by Catherine Hunt (Killian’s Tea Room)
Queen’s Husband directed by Catherine Hunt (Killian’s Tea Room)
Outward Bound directed by Catherine Hunt (Killian’s Tea Room)
Famous Mrs. Fair directed by Catherine Hunt (Killian’s Tea Room)
You and I directed by Catherine Hunt (Killian’s Tea Room)
1925
Cardboard Moon (5 Turner Alley)
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L14 E Lit 100 First-Year Seminar: The Literary Life
This class approaches literature from many angles: the creative to the scholarly, the personal to the ethical, the edifying to the entertaining. At the heart of our study will be a survey of literary "values" such as invention, emotion, style, subversion, beauty, humor-those fundamental reasons readers come to literature in the first place. Through readings and discussion, we will consider the great variety of ways literature expresses these values, and will explore them ourselves via creative assignments. Along the way, we will learn about literary life today through discussions with nationally renowned writers who will visit the class, and through units on literary scholarship, book reviewing, and magazine and book publishing. In the midst of it all, you will write and workshop your own stories, poems, and non-fiction works. Course enrollment preference is given to first-year students.
Credit 3 units. A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
View Sections
L14 E Lit 115A First-Year Seminar
A variety of topics in comparative literature, designed for first-year students--no special background is required--and to be conducive to the investigation and discussion format of a seminar. Previous topics include: Story Telling Through Sound, Banned Books, Imigrants and Exiles, Literature and Democracy, Literature and the Art of Apology, Hell on Earth: Crime, Conscience, and the Arts, Magical thinknig: Literature and Theory Engage the Occult
Same as L16 Comp Lit 115
Credit 3 units. A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
View Sections
L14 E Lit 150 First-Year Seminar: Turn & Face the Strange: Alienation & Transformation in Modern Lit & Cntmp Music
Credit 3 units. A&S: FYS A&S IQ: HUM BU: ETH EN: H
View Sections
L14 E Lit 152 Literature Seminar for Freshmen
Credit 3 units. A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 153 Literature Seminar for Freshman
Reading courses, each limited to 15 students. Topics: selected writers, varieties of approaches to literature, e.g., Southern fiction, the modern American short story, the mystery; consult Course Listings. Prerequisite: first-year standing.
Credit 3 units. A&S: FYS A&S IQ: HUM
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L14 E Lit 155 First-Year Seminar: Campus Novels and Dark Academia: Stories of College Life
Reading courses, each limited to 15 students. Topics: selected writers, varieties of approaches to literature, e.g., Southern fiction, the modern American short story, the mystery; consult Course Listings. Course is for first-year, non-transfer students only.
Credit 3 units. A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: BA EN: H
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L14 E Lit 156 Literature Seminar for Freshmen
Reading courses, each limited to 15 students. Topics: selected writers, varieties of approaches to literature, e.g., Southern fiction, the modern American short story, the mystery; consult Course Listings. Prerequisite: first-year standing.
Credit 3 units. A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 160 First-Year Seminar: Immigrants and Exiles
Literature has traditionally been a welcoming space for people who, by choice or history, do not fit easily in the mainstream of community life. The widespread changes and upheavals of the last century have vastly expanded the ranks of such people, accelerating the processes of immigration and exile while fundamentally altering traditional notions of home and belonging. This course will examine fiction by writers such as Jhumpa Lahiri, Albert Camus, Jean Rhys, Franz Kafka, and Teju Cole, who write from and about the position of "outsider," exploring what such texts have to say about living in an unsettled, diasporic modern world - a world in which real belonging seems an increasingly elusive goal. In reading these texts, we will investigate how their authors have portrayed the journeys, hopes, and hardships of dislocation and alienation, as well as the role literature might play in creating a sense of community for immigrants, refugees, and people living in various forms of exile. Course is for first-year, non-transfer students only.
Credit 3 units. A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 161A Morality and Markets
What does it look like to live a moral life in today's market system? We know all too well what it does not look like. The news is filled with moral failures of leaders and executives at top firms. We like to believe that we would behave differently, but what kinds of pressures inform our moral choices? What pulls us, what pushes us, and what persuades us to act one way rather than another? These are the questions that a course combining business and literature can address in unique ways; the world of fiction helps us to examine the ethical dilemmas of the market we inhabit every day. In this course, we use great books, classics of film and modern television, and the tools of modern psychology and business strategy to think critically about what is entailed in living a moral life in the midst of the modern market. This course is for first-year (non-transfer) students only.
Same as I60 BEYOND 161
Credit 3 units. A&S: FYBB A&S IQ: HUM Arch: HUM Art: HUM EN: H
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L14 E Lit 201C Classical to Renaissance Literature: Text and Traditions
Students enrolled in this course engage in close and sustained reading of a set of texts that are indispensable for an understanding of the European literary tradition, texts that continue to offer invaluable insights into humanity and the world around us. Homer's Iliad is the foundation of our class. We then go on to trace ways in which later poets and dramatists engage the work of predecessors who inspire and challenge them. Readings move from translations of Greek, Latin, and Italian, to poetry and drama composed in English. In addition to Homer, we will read works of Sappho, a Greek tragedian, Plato, Vergil, Ovid, Petrarch, and Shakespeare.
Same as L93 IPH 201C
Credit 3 units. A&S: AMP A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 2151 Literature in English: Early Texts and Contexts
How did what we now call English literature emerge? How did such literary activity reflect the world, and how did the world shape this writing? How can literature help us understand the history of art, race, religious identity and sectarian conflict, nations and empires, gender, sexuality, and class? We will address these questions by studying the early history of literature in English, from the Middle Ages through the late 18th century, as well as the tools, vocabularies, and critical practices of contemporary literary studies. We will learn about the material forms of English literature (manuscript, print, and performance traditions) as well as major poetry and prose forms (e.g., sonnet, epic, blank verse, romance, letter, slave narrative). In addition to Geoffrey Chaucer, William Shakespeare, John Milton, and Ignatius Sancho or Olaudah Equiano, the syllabus may include authors and texts such as "Beowulf," "Sir Gawain and the Green Knight," Julian of Norwich, Edmund Spenser, Margaret Cavendish, Aphra Behn, Daniel Defoe, and Eliza Haywood. Note: This course satisfies one of the two 200-level requirements for the English major.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 2152 Literature in English: Modern Texts and Contexts
What is modern English literature, and how do we tell its story? Is it a succession of literary movements from romanticism to realism to modernism and beyond? Is it a canon of classic texts to survey? Is it a sustained critique of that canon's exclusions, a recentering of the marginalized authors whose works reveal previously obscured accounts of modernity? It is, in fact, all of the above. In this course, we will introduce students to the central themes, forms, and forces that have shaped the history of English-language literature from the late 18th century to the present, as well as to the tools, vocabularies, and critical practices of contemporary literary studies. Throughout, we will examine the norms and assumptions of literary history, including those based in race, ethnicity, class, gender, and sexuality. Students will encounter fiction, poetry, drama, and creative nonfiction from Britain and the United States, along with African, Caribbean, or other global literatures in English. Authors studied may include William Wordsworth, Phillis Wheatley, Jane Austen, Charlotte Brontë, Frederick Douglass, Oscar Wilde, T.S. Eliot, Virginia Woolf, Claude McKay, Samuel Beckett, James Baldwin, Wole Soyinka, Toni Morrison, Ngugi wa Thiong'o, and Zadie Smith. Note: This course satisfies one of the two 200-level requirements for the English major.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 224 Publishing: History and Contexts
This course offers a broad introduction to book publishing, with the goal of establishing an understanding the larger issues facing publishing today, as well as the historical and cultural contexts that informs these issues. We will look at both multiple types of book publishing, with a general emphasis on contemporary Anglophone trade publishing, and will have frequent class visits (via Zoom) by professionals from different sectors of the publishing community. This course will count for one of the core requirements of the forthcoming Publishing Concentration.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H
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L14 E Lit 250 Sophomore Seminar
Topic will vary by semester.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 257 The Art of Poetry
An introduction to the critical vocabulary necessary for the study and evaluation of poetry; provides a basic understanding of prosody, poetic forms and figurative language, and the historical periods in which poetry has been written.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 258 Art of the Novel
In this course we will read novels drawn from several literary traditions and a number of distinctive narrative modes. Among the questions we will consider are those addressing the nature of narrative form, and the literary and stylistic choices made in order to express such things as character and consciousness, society and history, and the relation between the fictive and the real. There will be two papers, and several short writing assignments.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 299 Research Assistantship
For students assisting English faculty members with their research. The student must provide a description of his or her assistantship and secure permission of the Director of Undergraduate Studies. At the end of the semester, the student must submit a four-page essay describing the work done during the assistantship, along with any documents or work produced. In addition, a written evaluation by the faculty member they assisted is required. Up to three units acceptable toward the English Major. Only for declared English Majors. Must be taken pass/fail.
Credit variable, maximum 3 units.
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L14 E Lit 300 Independent Study
Credit 3 units.
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L14 E Lit 302 The Great American Novel
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 302W Writing Modern War
The twentieth century, as Graham Greene observed, was a century "in which there would never be a peace." This writing intensive course examines the ways in which modern writers have tried to describe warfare and its impact on both combatants and those on the "home front."
Credit 3 units.
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L14 E Lit 303W Strangers and Savages, Aliens and Outcasts
This writing intensive course will focus on a literary tradition united by its representation of passionate hatred and intolerance.
Credit 3 units.
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L14 E Lit 304W Craft of Fiction: Historical Fiction
This writing intensive course will be a literature/creative writing hybrid course in which a number of contemporary historical fictions (meaning, fictions set in periods prior to the authors' births, and sometimes incorporating real historical events or figures) will be covered.
Credit 3 units. EN: H
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L14 E Lit 305 Literature and Consent
Credit 3 units. A&S IQ: HUM, SC, SD Arch: HUM Art: HUM BU: BA EN: H
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L14 E Lit 305W Fabricating Lives
The premise of this writing intensive course is that autobiography is not a straightforward narrative of the past but a conscious shaping of life into a meaningful design.
Credit 3 units.
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L14 E Lit 306 Old English Literature: Beowulf
Credit 3 units. A&S IQ: HUM BU: HUM EN: H
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L14 E Lit 3065 Voice, Language and Power: Late Medieval Religious Writing
In the later Middle Ages, there is a flowering throughout Christian Europe of religious writings that offer a new voice in which personal religious experience can be pursued and expressed. Their voices are mainly intended to be communal ones, to be contained within the Church and regulated by it. But in each case the fact that it is a voice may offer a mode of resistance, or of difference. Such writing is often aimed at lay people, sometimes exclusively at women; and sometimes the intended auditors become the authors, and propose a version of religious experience that claims a new and more intimate kind of power for its readers. This course looks at a wide range of such writing in vernacular languages read in translation (English, French and German), including the work of Meister Eckhart, Marguerite Porete, Margery Kempe, Julian of Norwich, Eleanor Hull, the anonymous writer of The Cloud of Unknowing and the perhaps pseudonymous William Langland, author of Piers Plowman. Whether such writing seeks to be orthodox or conducive to heresy, it presents a challenge to the power of clergy - a challenge that is written in the vernacular language of lay people, rather than clerical Latin, and in doing so offers distinctively new voices for religious experience. The course will also look at ways in which such work might have been influenced, if only oppositionally or at times indirectly, by contact with Muslim and Jewish writing (including Jewish exegesis of the Psalms).
Same as L23 Re St 3065
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: ETH EN: H
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L14 E Lit 307 The Writing of the Indian Subcontinent
The Indian Sub-continent has in recent years yielded a number of writers, expatriate of otherwise, whose works articulate the postcolonial experience in the "foreign" English tongue. This course is designed to be an introductory survey of such writing, drawing on select Sub-continental writers. Covering both fiction and non-fiction by several authors including R. K. Narayan, Salman Rushdie, Anita Desai, Amitav Ghosh, Sara Suleri, Micheal Ondaatjie and Romesh Gunesekera, we will discuss such issues as the nature of the colonial legacy, the status of the English language, problems of translation (linguistic and cultural), the politics of religion, the expatriate identity and the constraints of gender roles.
Credit 3 units. A&S IQ: HUM, LCD Art: HUM BU: HUM
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L14 E Lit 3071 Caribbean Literature in English
Rum! Fun! Beaches! Sun! This is the image of the Caribbean in America today. This course will survey literature and culture from these islands, looking both at and beyond this tourists' paradise. It will aim to introduce students to the region's unmistakably vibrant tradition of multicultural mixture, while keeping an eye on the long history of slavery and rebellion out of which the islands' contemporary situation formed. Along the way we will encounter a wide variety of texts, from the earliest writing focused on life in urban slums, to the first novel ever to have a Rastafarian as its hero, to more contemporary considerations of the region's uncertain place in a U.S.-dominated world. Toward the end of the course, we will also look at important films like The Harder They Come as well as discussing the most globally famous cultural product of the contemporary Caribbean: reggae music. The course will involve readings from multiple genres, and will cover authors such as C.L.R. James, Derek Walcott, Jean Rhys, V.S. Naipaul, Jamaica Kincaid, and Caryl Phillips.
Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3075 The American Radical Novel: Literature Versus Inequality
Intended to help students reckon knowledgably, imaginatively, and articulately with our era of escalating social inequality, this course is a writing-intensive study of representative American radical novels stretching from the 19th-century abolitionism of Harriet Beecher Stowe's "Uncle Tom's Cabin" to the 21st-century dystopianism of Gary Shteyngart's "Super Sad True Love Story." Its main goals are (1) to introduce students to the long history and current significance of efforts to pit American literature against American inequality; and (2) to improve the quality of advanced student writing in the related fields of American Culture Studies and English literature. The first goal is pursued through close analysis of both radical novels and the contemporary political documents that inform them, juxtaposing such texts as Upton Sinclair's "The Jungle" and Karl Marx's "Communist Manifesto," Alice Walker's "Meridian" and Martin Luther King Jr.'s "Nonviolence and Racial Justice." The second goal is pursued through the hands-on analysis of successful rhetorical strategies sampled from The Hodges Harbrace Handbook, and, more importantly, from the scholarly writings of students themselves.
Same as L98 AMCS 3075
Credit 3 units. A&S IQ: HUM, SC, SD, WI BU: HUM EN: H
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L14 E Lit 308 Topics in Asian American Literature: Identity and Self-image
Topics in Asian American literature which will vary from semester to semester.
Credit 3 units. A&S IQ: HUM, SD Arch: HUM Art: HUM BU: HUM
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L14 E Lit 3081 City on a Hill: The Concept and Culture of American Exceptionalism
This course examines the concept, history, and culture of American exceptionalism-the idea that America has been specially chosen, or has a special mission to the world. First, we examine the Puritan sermon that politicians quote when they describe America as a "city on a hill." This sermon has been called the "ur-text" of American literature, the foundational document of American culture; learning and drawing from multiple literary methodologies, we will re-investigate what that sermon means and how it came to tell a story about the Puritan origins of American culture-a thesis our class will reassess with the help of modern critics. In the second part of this class, we will broaden our discussion to consider the wider (and newer) meanings of American exceptionalism, theorizing the concept while looking at the way it has been revitalized, redefined and redeployed in recent years. Finally, the course ends with a careful study of American exceptionalism in modern political rhetoric, starting with JFK and proceeding through Reagan to the current day, ending with an analysis of Donald Trump and the rise of "America First." In the end, students will gain a firm grasp of the long history and continuing significance-the pervasive impact-of this concept in American culture.
Same as L98 AMCS 3081
Credit 3 units. A&S IQ: HUM BU: HUM EN: H
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L14 E Lit 311 Topics in English & American Literature:Contemporary Literature of the East West Divide
Topics: themes, formal problems, literary genres, special subjects (e.g., the American West, science and literature, the modern short story). Consult Course Listings for offerings in any given semester.
Credit 3 units. A&S IQ: HUM, LCD Art: HUM BU: BA, HUM EN: H UColl: CD
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L14 E Lit 311E Electronic Poetry
An inquiry into new forms of screen art beginning with traditional printed poetry to varieties of virtual poetry emergent on the computer screen; the stream of programming code as a level of writerly activity.
Credit 3 units. BU: HUM
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L14 E Lit 311W Electronic Poetry
The primary focus in this writing intensive course will be to look at every possible kind of electronic poetry we can come up with in order to evaluate it as poetry.
Credit 3 units. BU: HUM
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L14 E Lit 312 Introduction to Digital Humanities
It is a truism that computers have changed our lives and the way we think and interact. But in fact systematic efforts to apply current technologies to the study of history and culture have been rare. This course will enable students to consider how these technologies might transform the humanities. We will explore the various ways in which ideas and data in the humanities can be represented, analyzed, and communicated. We will also reflect on how the expansion of information technology has transformed and is continuing to transform the humanities, both with regard to their role in the university and in society at large. Readings and classwork will be supplemented by class presentations and a small assigned group project.
Same as L93 IPH 312
Credit 3 units. A&S IQ: HUM, WI Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3121 The Medieval Romance
The romance grows out of the epic: how we get from the fall of Troy to the fall of Troilus. Readings from Vergil's Aeneid to Sir Gawain and the Green Knight.
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3122 Topics in Literature: Heroes and Lovers
We will read Beowulf, Sir Gawain and the Green Knight, Chaucer's Troilus and Criseyde, The Mabinogion, The Tain, Margery Kempe, and Malory's Morte d'Arthur.
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 312C Introduction to Digital Humanities
It is a truism that computers have changed our lives and the way we think and interact. But in fact systematic efforts to apply current technologies to the study of history and culture have been rare. This course will enable students to consider how these technologies might transform the humanities. We will explore the various ways in which ideas and data in the humanities can be represented, analyzed, and communicated. We will also reflect on how the expansion of information technology has transformed and is continuing to transform the humanities, both with regard to their role in the university and in society at large. Readings and classwork will be supplemented by class presentations and a small assigned group project.
Same as L93 IPH 3123
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 312W Topics in English and American Literature: End of the Century: American Culture in the 1990s
Starting with Allan Bloom's The Closing of the American Mind, a book that helped re-ignite the Culture Wars, this course will consider the debates and problems that pervaded American culture during the 1990s. From the end of the Cold War to the sexual scandals that rocked Bill Clinton's presidency, from the emergence of the Internet to the rise of grunge and rap, the 1990s were a time of vast change in American culture. It was period when we, as a nation, reconsidered the legacy of the 1960s, the Reagan revolution, and the end of the Cold War, a time of economic expansion and cultural tension. In our consideration of this period, we will take a multidisciplinary approach when tackling a variety of materials-ranging from literary fiction (Philip Roth's The Human Stain, Jonathan Franzen's The Corrections) and popular films (Spike Lee's Do the Right Thing and The Cohen brothers' The Big Lebowski) to the music of Nirvana and Public Enemy-in an attempt to come to a better understanding of our recent history. Throughout the semester, we will pursue the vexed cultural, political, and historical questions that Americans faced in the years between the fall of the Berlin Wall and the terrorist attacks of September 11th, 2001, and consider how literary texts imagined this period of American history.
Credit 3 units. A&S IQ: HUM, WI Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 313 Topics in English and American Literature
Called the "Age of Revolution," the Romantic Age of British literature, 1770-1830, witnessed the birth of new lyric forms, the effacement of traditional strictures on style and taste, and produced through poetic voice (and its quaverings and multiplications) what might be called, over simply, the modern subject. Within a developing discourse of human rights and personal freedom, this growing assertion through poetry of individual expressivity allowed William Blake to construct in a single work a visual and verbal "Jerusalem. It encouraged William Wordsworth to write a pathbreaking investigation of the sources of his own creativity that challenged conventional restraints on what topics can, and cannot, be confessed in poetry. Beginning with these two poets, we will consider the historical contexts, and the sometimes competing histories of ideas, that shaped the five major British Romantic poets: Blake, Wordsworth, Samuel Taylor Coleridge, Lord Byron, and John Keats. We will follow an anthology for much of the poetry, including the poems and prose of influential contemporaries (female as well as male) who included the political philosopher Edmund Burke and Mary Wollstonecraft. Texts also to be assigned will include Mary Shelley's Frankenstein and Byron's Don Juan.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 313W Bots, Drones, and Cyborgs: Being Human in the Age of Intelligent Machines
We llive in a world where not only our access to information, but our social interactions, and bodily autonomy are increasingly mediated by- surveilled, analyzed, facilitated, enhanced- by technology. This course will ask what it means to be human in an age of intelligent machines. What happens to our notions of individuality, autonomy, and political subjecthood when domains or categories once thought exclusively to be the preserve of humanity- language, emotion, complex information processing (playing chess, or driving cars, for example)- are increasingly threatened, replicated, and extended by technology? We will cover a range of science fiction texts including Karel Capek's play Rossum's Universal Robots, Isaac Asimov's I, Robot, Phillip K. Dick's Do Androids Dream of Electric Sheep, and William Gibson's Neuromancer along with works of speculative fiction such as Aldous Huxley's Brave New World and Margaret Atwood's Oryx and Crake, and Kazuo Ishiguro's Klara and the Sun along with films such as Blade Runner and The Matrix. We'll juxtapose these cultural representations of artificial intelligence with emerging philosophical and scientific discussions to ask to what extent the fundamental ways AI continues to redefine the boundaries of the "human" as a category.
Credit 3 units. A&S IQ: HUM EN: H
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L14 E Lit 314 Topics in English & American Literature
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM, IS EN: H
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L14 E Lit 315 Topics in American Literature
Topics: themes, formal problems, literary genres, special subjects (e.g., the American West, American autobiographical writing). Consult Course Listings for offerings in any given semester.
Credit 3 units. A&S IQ: HUM, SD Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3153 The Women of Greek Tragedy
This course examines the role of women in Athenian drama. Students will read English translations of the works of the three major tragedians -- Aeschylus, Sophocles, and Euripides -- and their near contemporary, the comedian Aristophanes. Direct engagement with ancient texts will encourage students to develop their own interpretations of and written responses to the political, social, and ethical manipulation that these mythological women were compelled to endure and the subtle ways in which they appear to exercise power themselves. Selected scholarly articles and book chapters will help students to contextualize these ancient dramas in their culture of origin. Because such issues continue to preoccupy both sexes today, students will see how Greek tragedy addresses perennial historical and cultural concerns through the examination of adaptations of Greek tragedies ranging from Seneca in ancient Rome to Spike Lee's "Chi-Raq" and Luis Alfaro's "Mojada: A Medea in Los Angeles." The final research paper will encourage students to consider how a specific female character from antiquity is transformed for a "modern" dramatic audience.
Same as L08 Classics 3153
Credit 3 units. A&S IQ: HUM, WI Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 315W The Literature of the American Revolution
While not a historical survey, the course will present several case studies raising questions about later myth and contemporary reportage.
Credit 3 units. BU: HUM
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L14 E Lit 316 Topics in American Literature: Travel Writing and Empire
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3161 Topics in English and American Lit
Credit 3 units. A&S IQ: HUM BU: HUM EN: H
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L14 E Lit 3164 Adaptations Literature / Film / TV
"The book was better than the movie." "The movie wasn't faithful to the book." "The TV series didn't capture the book like the movie did." These have forever been the complaints of readers watching their favorite works of literature adapted to the screen, and, in a media ecosystem increasingly flooded with adaptations and reboots of existing intellectual property, these complaints won't be going away any time soon. Film and literature have been interconnected since the very first films screened at end of the nineteenth century, but the dynamic between literature and media has sometimes been strained: film reviled as the cheap degradation of a vital art form, the novel anxious at the rise of narrative film - and later television - as rival storytelling media. But, viewing literature and visual media in opposition can obscure what becomes visible if we view them together. This is a course about the history, theory, and practice of adaptation from literature to film and television and back again rooted in both canonical and non-canonical case studies. We will study authors whose works have been repeatedly adapted across eras and media; filmmakers whose works are pastiches of various literary and cinematic sources; rigorously, obsessively "faithful" adaptations; radically transformative "unfaithful" adaptations; and works of literature and media that are themselves about the process and ethics of adaptation. The course will be anchored by a reading of Emily St. John Mandel's 2014 novel Station Eleven and a serial viewing - replicating the unusual original release - of HBO Max's miniseries adaptation.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H
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L14 E Lit 316W Topics in American Literature: Girls' Fiction
Topic varies. Writing intensive.
Credit 3 units. A&S IQ: HUM, WI Arch: HUM Art: HUM BU: HUM EN: H UColl: ENL
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L14 E Lit 317 Topics in American Literature
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 317W Topics in English and American Literature
Selected Topics. Varies from semester to semester. Writing Intensive
Credit 3 units. A&S IQ: HUM, WI BU: HUM EN: H
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L14 E Lit 318 Topics in American Literature
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3191 Contemporary American Women Poets
An introduction to the work of contemporary American poets who are women; extensive reading of both poetry and prose. Readings include the work of poets such as Bishop, Rich, Plath, Sexton, Clampitt, Gluck, Moss, Graham, Howe, Dove, Oliver, Forche, Lauterbach.
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM
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L14 E Lit 3192 Interdisciplinary Studies in the Humanities, 20th Century: The European Avant Garde
The first half of the twentieth century witnessed the emergence of Artistic movements characterized by revolt against tradition, emphasis on radical experimentation, and redefinition of the art work. This course will familiarize students with the avant-garde's main currents: Italian Futurism, English Vorticism, Russian Constructivism, "stateless" Dadaism, and French Surrealism. We will ask ourselves how to define the avant-garde, how it is related to modernity, and whether its aesthetic is necessarily political. Texts include "Futurist Manifestos", Cendrars's "Trans-Siberian Prose," Stein's "Tender Buttons", Breton's "Nadja". We will also examine artworks such as Duchamp's "Large Glass" and films Buñuel's "Un Chien Andalou".
Same as L93 IPH 3191
Credit 3 units. A&S IQ: HUM Art: HUM EN: H
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L14 E Lit 319A Topics in English & American Literature
Credit 3 units. A&S IQ: HUM BU: HUM EN: H
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L14 E Lit 321 American Literature to 1865
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM
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L14 E Lit 3211 Topics in 19th-Century American Writing
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM
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L14 E Lit 322 American Literature 1865 to Mid-20th Century
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM
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L14 E Lit 3222 20th-Century American Writers
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3227 Devising, Adaptation and Docudrama
This course explores three ways of theatre-making that have revolutionized the contemporary stage: devising (a collaborative process emphasizing physical techniques to realize ideas), adaptation (the transposition of a narrative from one mode to another), and docudrama (the self-conscious staging of history through the assemblage of documentary records). Beginning with a focus on the current "postdramatic theatre" and the pre-histories of these contemporary practices, we will engage current scholarship on each form, learning the "how" and "why" from contemporary practitioners, while considering the rhetorical structure of each form in relation to the social meanings they generate for their audiences. Divided into 3 units, the course will combine the study of each method with hands-on practice, and will conclude with a showcase featuring an original performance created by the student collective. A theme (variable by semester) will unite the three sections of the course, helping students see how a single topic can be illuminated in different ways through these three methods of creating performance.
Same as L15 Drama 3227
Credit 3 units. A&S IQ: HUM, LCD BU: HUM EN: H
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L14 E Lit 322C Major American Writers II
Representative works of American writing from 1880 to the present, with particular attention to fiction and poetry; authors include James, Stein, Hemingway, Faulkner, Ellison. Prerequisite: 6 units of sophomore literature, junior standing, or permission of instructor.
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM
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L14 E Lit 322E Major American Writers II
Representative works of American writing from 1880 to the present, with particular attention to fiction and poetry; authors include James, Stein, Hemingway, Faulkner, Ellison. Prerequisite: 6 units of sophomore literature, junior standing, or permission of instructor.
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L14 E Lit 322W Major American Writers II
This writing intensive course is intended as an in-depth introduction to arguably the two most significant American fiction writers of the first half of the twentieth century.
Credit 3 units. BU: HUM
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L14 E Lit 323 Selected American Writers
Intensive study of one or more American writers. Consult Course Listings for offerings in any given semester.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 323A American Literature III
Credit 3 units. A&S IQ: HUM EN: H
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L14 E Lit 325A African Americans and Children's Literature
This course explores two distinct themes: how African descended people have been depicted in American and British children's literature and how African Americans have established a tradition in writing for children and young adults. It will also examine two related questions: How has African American childhood been constructed in children's literature and how have African American writers constructed childhood in children's literature? We will look at such classic white writers for children like Helen Bannerman, Annie Fellows Johnston, and Mark Twain as well as efforts by blacks like the Brownies Book, published by the NAACP, and children's works by black writers including Langston Hughes, Ann Petry, Shirley Graham Du Bois, Arna Bontemps, Virginia Hamilton, Walter Dean Myers, Mildred Taylor, Floyd and Patrick McKissack, Julius Lester, Rosa Guy, Sharon Bell Mathis, bell hooks, and others. For AFAS majors, this course counts as Area Requirement 1.
Same as L90 AFAS 3254
Credit 3 units. A&S IQ: HUM, SC, SD Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 326 Selected American Writers
Credit 3 units. Art: HUM
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L14 E Lit 327 Selected American Writers
Credit 3 units. Art: HUM
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L14 E Lit 328W Selected English and American Writers
Credit 3 units. A&S IQ: HUM, WI BU: HUM EN: H
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L14 E Lit 329 Selected English and American Writers
Credit 3 units. Art: HUM
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L14 E Lit 330A Topics in AMCS
This topic varies by semester. See course listings for current offering.
Same as L98 AMCS 330
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 331C Tragedy
Credit 3 units. Art: HUM BU: HUM
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L14 E Lit 334 A History of the Golden Age of Children's Literature
A comprehensive survey of the major works for children written during this period.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3341 The History of Children's Literature from the End of the Golden Age to the Age of Multiculturalism
A continuation of English 334, this is a comprehensive survey looking at the major works of children's and adolescent literature in both Britain and America.
Credit 3 units. BU: HUM
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L14 E Lit 335 Modern Drama 1850-1920
The emergence of modern drama: emphasis on Ibsen, Strindberg, Chekhov, Shaw.
Credit 3 units. Art: HUM BU: HUM
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L14 E Lit 3351 Modern Drama 1880-1945
Major figures of modern drama: Ibsen, Strindberg, Shaw, Chekhov, Lorca, Synge, Pirandello, Brecht and O'Neill. Close literary study and consideration of these plays as examples of the art of the stage. Reference will also be made to contemporary experiments in the other arts, and to major literary movements in the time period under consideration.
Credit 3 units. Art: HUM BU: HUM
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L14 E Lit 3361 Modern Drama, 1945 to the Present
Course concentrates on the development of modern drama from 1945 to the present. Focus is on both literary and theatrical techniques as well as the examination of trends in the contemporary theatre from Samuel Beckett through Sam Shepard. Perspective is comparative and international in scope, with particular attention given to women and minority playwrights.
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 336C Topics in American Culture Studies
Same as L98 AMCS 336
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: BA EN: H
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L14 E Lit 3370 Contemporary Stages: An Anglo-American History of Performance after 1950
Credit 3 units.
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L14 E Lit 3371 The Theatre of the Absurd
Credit 3 units. Art: HUM
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L14 E Lit 339 Topics in 19th-Century American Writing
Credit 3 units. A&S IQ: HUM Art: HUM
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L14 E Lit 3391 Topics in 19th- and 20th-Century American Writing: American Short Fiction
This course is directed toward a broad range of majors and non-majors with a serious but not scholarly interest in American Short Fiction.
Credit 3 units. A&S IQ: HUM BU: HUM EN: H
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L14 E Lit 340 Topics in 20th-Century American Writing
An introduction to major American works and writers from the later 19th century through the mid-20th century. Writers studied include Twain, James, Crane, Fitzgerald, Hemingway, Faulkner, Frost, Eliot and Stevens. The course assumes no previous acquaintance with the material and is directed toward a broad range of majors and non-majors with a serious but not scholarly interest in the subject. Students with little or no background in literature might be advised to take E Lit 213C (Chief American Writers), while English majors looking to do advanced work should consider the 400-level American literature sequence. Students who have taken E Lit 213C should not enroll in this course.
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM
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L14 E Lit 340W The American Novel: Split and Hybrid American Identities
Examination of the struggle to form an enabling identity for author, characters, and text against the divisive pressures of family and society.
Credit 3 units. A&S IQ: HUM, WI BU: BA, HUM EN: H
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L14 E Lit 342W The Romance: Medieval to Modern
Credit 3 units.
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L14 E Lit 343 Two Cultures: Literature and Science
The relation between biology and literature as it has been examined and expressed in poetry, fiction, and nonfiction of the past two centuries.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 344W Writing About Performance
In this writing-intensive course, students will develop critical strategies for writing about theatre and other performance events, in the present and in a range of historical periods.
Credit 3 units. BU: HUM
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L14 E Lit 3451 Topics in American Literature
Emerging in American films most forcefully during the 1940s, film noir is a cycle of films associated with a distinctive visual style and a cynical worldview. In this course, we will explore the sexual politics of film noir as a distinctive vision of American sexual relations every bit as identifiable as the form's stylized lighting and circuitous storytelling. We will explore how and why sexual paranoia and perversion seem to animate this genre and why these movies continue to influence "neo-noir" filmmaking into the 21st century, even as film noir's representation of gender and sexuality is inseparable from its literary antecedents, most notably, the so-called "hard-boiled" school of writing. We will read examples from this literature by Dashiell Hammett, James Cain, Raymond Chandler and Cornell Woolrich, and discuss these novels and short stories in the context of other artistic and cultural influences on gendered power relations and film noir. We will also explore the relationship of these films to censorship and to changing post-World War II cultural values. Films to be screened in complete prints or in excerpts will likely include many of the following: The Maltese Falcon, Double Indemnity, Murder My Sweet, Phantom Lady, Strangers on a Train, The Big Sleep, The Killers, Mildred Pierce, The High Wall, Sudden Fear, The Big Combo, Laura, The Glass Key, The Big Heat, Kiss Me Deadly, The Crimson Kimono, Touch of Evil, Alphaville, Chinatown, Taxi Driver, Devil in a Blue Dress, The Bad Lieutenant, and Memento. Required Screenings.
Same as L53 Film 345
Credit 3 units. A&S IQ: HUM, SC, SD Arch: HUM Art: HUM BU: BA EN: H
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L14 E Lit 346 British Enlightenment Culture
To capture the range and vibrancy of British enlightenment culture, this class invites students to read broadly and imaginatively in the most influential literary, economic, and philosophical texts of the time.
Credit 3 units. A&S IQ: HUM BU: IS EN: H
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L14 E Lit 347 Masterpieces of Literature I
Masterpieces of Western literature in English translation: Homer through Dante.
Credit 3 units. A&S IQ: HUM BU: HUM EN: H
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L14 E Lit 348 Masterpieces of Literature II
Masterpieces of Western literature in English translation: the 17th century through the 20th century.
Credit 3 units. A&S IQ: HUM, LCD BU: HUM EN: H
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L14 E Lit 350W On Time: Clocks, Calendars, Crisis in Modern British Fiction
Credit 3 units. A&S IQ: HUM, WI Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3520 Introduction to Postcolonial Literature
At its zenith, the British Empire encompassed almost a quarter of the globe, allowing the diminutive island nation unprecedented economic, military, and political influence upon the rest of the world. This course will introduce some of the foundational responses to this dominance, both literary and theoretical, by the colonized and their descendants. We will examine important critiques of colonialism by theorists such as Frantz Fanon, Aimé Césaire, Edward Said, Homi Bhabha, and Gayatri Spivak, as well as literary works that reflect a postcolonial critique by authors such as V.S. Naipaul, George Lamming, Doris Lessing, and N'gugi wa Thiong'o. The course will interrogate how literature could be said to help consolidate Empire as well as ways in which it might function as rebellion against imperial power, with a view toward teasing out the problematics of race, gender, language, nationalism, and identity that postcolonial texts so urgently confront. This course may fulfill the global or minority literatures requirement for students who declare an English major in the fall 2021 semester and beyond.
Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3522 Topics in Literature
Topics course which varies by semester.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: IS EN: H
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L14 E Lit 3524 Topics in Literature
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3525 Topics in Literature
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: IS EN: H
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L14 E Lit 3527 Blacks and Jews in America
Credit 3 units. A&S IQ: HUM, SC, SD Arch: HUM Art: HUM EN: H
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L14 E Lit 352A Topics in English & American Literature
The black athlete is a central figure in American entertainment, and has been since Frederick Douglass decried Christmastime slave games in his Narrative. This course will examine literary depictions of black athletes-in novels, memoirs, essays, and poems-in order to better understand the cultural significance of sportsmen and women in the African American struggle for equality, from abolitionism to the "Black Lives Matter" movement. Students will read works by Douglass, Ralph Ellison, Maya Angelou, and John Edgar Wideman, among others, and examine the lives and athletic pursuits of prominent athletes such as Jackie Robinson, Muhammad Ali, Wilma Rudolph, Michael Jordan, and LeBron James. Popular perceptions of gender and sexuality, in addition to race and racism, will factor into readings, especially as students incorporate secondary sources into their own research.
Same as L98 AMCS 352A
Credit 3 units. A&S IQ: HUM, SC, SD Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 352D Fanstasy, Horror, Sci-Fi: Genre-Fiction in Arabic Literature
Genre is a category, or to use Aristotle's term, a species. It is a category of literature, arts, music, and other forms of composition, to classify works of shared conventions, practices, and aesthetics. A typical example would be poetry. Subgenre is a single division of a given genre. In this example, epic poetry, the sonnet, haiku are subgenres of poetry. But who gets to decide what is genre, subgenre, and how? These would be some of the main questions we willl address in this course. Genre theory can teach us a fascinating history of how various cultures imagine their forms of creative expression. The development of genres and subgenres reveal complex histories on who has the power to define and redefine creative expression. For example, the novel, now a dominant and prestigious global literary genre, was once considered an inferior and working-class genre in Europe over a century ago. The novel genre then developed into numerous subgenres, which are today placed under one large umbrella that is "genre-fiction," such as sci-fi, fantasy, horror, gothic, mystery etc.. However, the borders between these subgenres and the larger genre itself are always contested and reformulated. Through the history of genre and subgenre, we get to learn about literary taste and literary criticism, and whose definitions and conventions have changed the course of literature and the arts, and for what reason. The dominance of the historical novel today, for example, is attributed to larger phenomenon such as decolonization, feminism, and anti-racism. The sociopolitical urge to utilize fiction to address larger issues has not only boosted the impact of the historical novel but "elevated" it to become a common form of the genre itself. Within this grand history, Arabic literature has a complex and rich story to tell about genre and subgenre. The most obvious example here, which will be our entry point in this course, is 1001 Nights (also known as The Nights, or The Arabian Nights). This multi-volumed masterpiece has influenced fiction writers across the globe, especially in the past three centuries as the novel began to formulate into a modern genre. It is an exceptional work where we see a cosmology of subgenres of storytelling, narrative, but also of poetry, and in some editions, illustration and drawing, as well as translation. The Nights is often seen as the first hybrid work of literature where subgenres and forms co-exist but also blur and converge. This dynamic, revolutionary, and mobile nature of The Nights expresses the meeting of various cultures, experiences, and traditions of storytelling during the Abbasid empire. Today, it remains ever more relevant and inspiring in a cosmopolitan world. The question and history of sub/genre, however, will guide us through an exploration of modern and contemporary Arabic literature. We will get to engage with these texts thematically, stylistically, and intellectually. The aesthetic choices made in literature are never isolated from the intellectual, political, and sociohistorical contexts of a given text. Through the assigned texts and artworks, we will also learn about colonization, gender, imperialism, class, migration, ecology, among other pressing topics. No knowledge of Arabic is necessary; all readings in English translation.
Same as L75 JIMES 3520
Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM EN: H
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L14 E Lit 352I Topics in AMCS: The Real and Fake: Identity, Conflics, and Race in Asian American Literature
Topics vary by semester; see semester listing for course description.
Same as L98 AMCS 3520
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3531 Selected English & American Writers
Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM
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L14 E Lit 3539 Jews, Jersey, and America: Philip Roth Reconsidered
Beginning with the publication of his debut Goodbye, Columbus in 1959, Philip Roth remained a highly visible, and at times highly controversial presence on the American literary scene. Questions of Jewish American identity; the power struggle between fathers and sons; the irrationality of male sexual desire; the consequences of exercising one's (artistic, sexual, personal) freedom; the tumultuous history of Newark; the nature of the American experiment-these are the central concerns that percolate throughout his thirty-one books. In this course, we will read Roth's major novels and explore how his fiction addressed these questions. Moreover, we will discuss how we can approach Roth's fiction in the wake of such events as the Trump presidency, the Covid-19 pandemic, and the #Me Too Movement. How do we read Roth in the wake of the political and social traumas that have shaped our recent history? How does Roth's fiction speak to the recent rise in anti-Semitism? To help inform these questions, we will also consider how contemporary writers, such as Nicole Krauss and Taffy Brodesser-Akner, have directly reconsidered Roth's legacy in their fiction, rethinking his treatment on such topics as Jewish-American identity, sexual politics, and the status of the novel.
Credit 3 units. A&S IQ: HUM, WI Arch: HUM Art: HUM EN: H
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L14 E Lit 3550 Undoing Empire: Introduction to Postcolonial Writing and Art
This course introduces students to the histories and politics of postcolonial writing and art. By tracing the genealogies of writing and art produced in the aftermath of colonialism, this course will explore how writers, artists, and scholars working from the context of formerly colonized nations have responded to the legacies of racial, cultural, and economic oppression. Students will look at novels, poems, art, and theater produced by those working from Africa, the Caribbean, and other formerly colonized nations in order to chart the complex networks of political solidarity these works enable. Writers like Franz Fanon, Aimé Césaire, and Gayatri Spivak will be read alongside literary and artistic pieces by writers such as Chinua Achebe, Tsitsi Dangarembga, Jamaica Kincaid, Derek Walcott, Safiya Sinclair, Arundhati Roy and artists such as Zanele Muholi, Santu Mofokeng, Tessa Mars, William Kentridge, and others. Topics such as racial memory, postcolonial identity, radical aesthetics, and Afro-futurism will be explored.
Same as L90 AFAS 3550
Credit 3 units. A&S IQ: HUM, LCD EN: H
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L14 E Lit 3551 Topics: Literary Criticism and Theory: Ways of Approaching a Literary Text
Credit 3 units.
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L14 E Lit 3552 Introduction to Literary Theory
This course introduces students to some of the most influential theoretical approaches to interpretation applied to English-language literature; to significant conceptual and historical debates about literary and cultural theory; and to the keywords used in these debates. Students will learn how to write and speak about theoretical texts and how to recognize the theoretical assumptions that underlie acts of literary interpretation. Theoretical approaches to be featured may include formalism; Marxism; psychoanalysis; gender and sexuality studies; structuralism and post-structuralism; postcolonial studies; critical race studies; new historicism and cultural materialism; cultural studies; affect theory; neurocognitive approaches; and disability studies. This course fulfills the literary theory requirement for the English major; no substitutions will be permitted. In order to preserve necessary seats for English majors, the course will be enrolled through the wait list.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H UColl: HUM
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L14 E Lit 357 The Art of Poetry
Techniques of poetry, considered theoretically and practically in relation to problems of form and significance: meter, rhyme, image, metaphor, stanzaic patterns, and others.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3571 20th-Century Poetry
Credit 3 units. A&S IQ: HUM Arch: HUM BU: HUM EN: H
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L14 E Lit 358 Studies in Short Fiction
Study of the work of four novelists who were also fascinated by shorter forms throughout their careers: D. H. Lawrence, Joseph Conrad, Henry James and William Faulkner. The course will be concerned with the variety of forms their work takes as it is shaped by the very individual visions of each.
Credit 3 units. Art: HUM BU: HUM
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L14 E Lit 3581 Historical and Comparative Linguistics
Historical linguistics focuses on how languages change over time. Comparative linguistics focuses on their similarities and differences. In this course we will trace some of the differences and changes in sound (phonetics and phonology) word formation (morphology), sentence structure (syntax), and meaning (semantics). Topics include linguistic universals, the structural and genetic classification of languages, the techniques of reconstructing proto-languages, and the causes of language change. Examples from Indo-European languages (for example, Greek, English, and Spanish) and from Native American languages (for example, Quechua and Mayan) will be emphasized. Prerequisite: Ling 170D.
Same as L44 Ling 320
Credit 3 units. A&S IQ: LCD, SSC Arch: SSC Art: SSC BU: HUM EN: S
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L14 E Lit 3582 Black Literature: Race, Class, and Writing in the United States and the Caribbean, 1900-1950
Study of the differences in literary tradition arising from the divergent social, racial, and educational milieux of the United States and the West Indies.
Credit 3 units. BU: BA, HUM
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L14 E Lit 359 Scribbling Women: 19th-Century American Women Writers
In 1855, Nathaniel Hawthorne wrote to his publisher, William Tichnor, that "America is now wholly given over to a damned mob of scribbling women and I should have no chance of success while the public taste is occupied with their trash." In this class, we examine works of those scribbling women of the nineteenth century. We read one of the best selling novels of the century, one that created a scandal and ruined the author's literary reputation, along with others that have garnered more attention in our time than their own. In addition to focusing on these women writers, we also explore questions about the canon and American literature: What makes literature "good"? What constitutes American literature? How does an author get in the canon and stay there? Finally, in this writing intensive course, there are frequent writing assignments and a strong emphasis on the essential writing process of drafting and revising.
Same as L77 WGSS 358
Credit 3 units. A&S IQ: HUM, WI Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 359H Hot Takes: Cultural Criticism in the Digital Age
The twenty-first century has seen a new and exciting wave of cultural criticism, and along with it a new wave of public intellectuals. Ta-Nehisi Coates, Roxane Gay, Jia Tolentino, Anne Helen Petersen, Jo Livingstone, Hanif Abdurraqib-at their best, writers like these aspire to the sort of indispensability on political, social, and artistic matters that their forebears like Susan Sontag, Norman Mailer, and James Baldwin had at midcentury. But these voices are unique because they emerged through and alongside a specifically online critical sphere, a space betwixt and between the comments section and the little magazine. This is the space of viral tweets and threads, "hot takes" and "think-pieces." It's a space of potentially greater democratization and diversity even as it is an opportunity for bigots and trolls. These writers are beholden to their networks, but those networks are far wider, more idiosyncratic and inclusive and incendiary-more unstable-than anything buttressing the vaunted public intellectuals of the past. This course examines the cultural critics of the contemporary moment in context of the critical space they opened and now occupy. We'll begin with a quick history of the "public intellectual" from the eighteenth century to the present before we log on. The rise and fall of Gawker, Grantland, and The Awl; The New Republic's controversial digital pivot; the feminist communities of The Hairpin and The Toast; the conservative "intellectual dark web"; the message boards of the early 2000s; the emergence of semi-academic sites like the Los Angeles Review of Books; the blogs and tumblrs and livejournals that nurtured the talents and provocateurs that we now find indispensable or unavoidable. We will dissect their style, understand their theory and practice, engage with their subjects, and investigate the way their writing has intersected with and propelled social media movements like Black Lives Matter, #MeToo, and #OscarsSoWhite. And we will consider the way these critics have influenced the way scholars and students approach the texts and topics we always have.
Same as L98 AMCS 359H
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H
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L14 E Lit 360 The Writings of Philip Roth
Fiction by Philip Roth in chronological order from his earliest to his last major effort.
Credit 3 units.
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L14 E Lit 362 The 18th Century: A Study of Major Texts
Credit 3 units. A&S IQ: HUM BU: HUM EN: H
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L14 E Lit 363C Theatre Culture Studies III
The third in the department's three-course history sequence, TCS III surveys the dramatic literature and cultural history of the modern theater. Beginning with Romanticism's self-conscious break with the past, we'll study the rise of bourgeois melodrama with its intensely emotional rendering of character and spectacular effects. We'll consider how those effects were made possible by advances in industrial stage technology which reproduced the everyday world with unprecedented verisimilitude, and how playwrights responded to those technologies by calling for the theatre to become either a "total work of art"--plunging its spectators into a mythical realm--or a petri dish--analyzing the struggles of the modern individual within his or her modern milieu. Exploring a range of aesthetic modes--including Realism, Naturalism, Symbolism, Expressionism, the Epic Theatre, and the Theatre of the Absurd--we will read classic plays by modern playwrights to consider how the modern theatre helped its audiences understand as well as adapt to the rapidly changing conditions of the modern world.
Same as L15 Drama 365C
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: ETH, HUM EN: H
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L14 E Lit 365 The Bible as Literature
The Bible is one book among many; the Bible is a book like no other; the Bible is not one book but many. The course will debate such positions and the different histories and practices of reading they involve. We shall read extensively in English translations of the Bible, both Jewish and Christian, with emphasis on literary form and ideas. We shall look at the Bible´s material forms, and the history of its interpretation and translation. The aim is not to adjudicate its meaning but to explore what over time it has been taken to mean, attempting to locate within the book the potential for different interpretations. The course requires, and should foster, attentive reading, vigorous yet courteous argument, and respect for the readings of others.
Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: ETH EN: H
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L14 E Lit 367 Religious Themes in Contemporary Literature
The use by selected 20th-century writers of religious themes and symbols. Close analysis of the literary techniques by which religious concepts and images are developed and differing insights of writers representing a broad spectrum of contemporary attitudes toward religious issues.
Credit 3 units. A&S IQ: HUM Art: HUM BU: ETH
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L14 E Lit 368 The Development of American Romantic Thought: Enlightenment Confidence to Postmodern Questioning
We'll examine the revolutionary shift in human sensibility commonly known as "Romanticism" by tracing its development in America from the "Fireside Poets" (Bryant, Longfellow) and Transcendentalism (Emerson, Whitman) to anticipations of Modernism and Postmodernism (Henry Adams, Louis Sullivan, Charles Ives). Fulfills the 19c and Am lit requirements for the English major.
Credit 3 units.
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L14 E Lit 369 Reading Sex in Premodern England
This course introduces students to the literary representation of gender and sexuality in England from the medieval period to the eighteenth century. To understand a tradition that addressed the intractable problem of human sexuality in terms very different from ours, we will ask: how does pre-modern culture imagine gendered identities, sexual difference, and erotic desire? How do various contexts-medical, religious, social, private, public-inform the literary representation of gender and sexuality? What are the anatomies and economies of the body, the circuits of physical pleasure, and the disciplines of the self that characterize human sexuality? Students will have the opportunity to study romances, saints' lives, mystical writings, diaries, plays, sex guides, novels, and scientific treatises. By learning how to "read sex" in pre-modern literature, students will acquire a broad cultural and historical understanding of English sexualities before the descent of modern sensibilities.
Credit 3 units. A&S IQ: HUM, SD BU: HUM EN: H
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L14 E Lit 370 The Age of Victoria
Works of fiction, poetry, journalism, children's literature, political cartoons, book illustrations, genre paintings, and photographs. The course aims to give a sense of the age in all its diversity and peculiarity, as well as to concentrate on a few central issues and developments in 19th century British society: e.g. industrialism, materialism, feminism, liberalism, the rise of the social sciences. Readings will include works by Tennyson, Matthew Arnold, Lewis Carroll, Dickens, George Eliot, John Stuart Mill, Trollope, Oscar Wilde, and Edmund Gosse.
Credit 3 units. Art: HUM BU: HUM
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L14 E Lit 371 The Age of Chaucer
Study of the ways in which literature and history interplay between 1340 and 1400. Literary texts include writings by Chaucer, Langland, the Pearl Poet, and anonymous composers of songs, dream visions, romances, satires, debates, and low stories; attempts to move from these to theoretical and over into historical texts, alienating where necessary and translating where possible.
Credit 3 units. Art: HUM BU: HUM
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L14 E Lit 372 The Renaissance
Major texts of the European Renaissance examined to set English literary achievement in a continental context. Among authors to be studied: Petrarch, Castiglione, Erasmus, More, Luther, Wyatt, Rabelais, Montaigne, Shakespeare, Spenser, Jonson, Milton. Prerequisite: 6 units of literature, junior standing, or permission of instructor.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H UColl: ENE
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L14 E Lit 3725 Topics in Renaissance Literature
Topics course in Renaissance Literature
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 3731 Writing and the Representation of Pain
Writing intensive course on the representation of pain at every level, from private suffering to public policy. Course reader consists of examples of or extracts from a diversity of materials: the "Bible" and "Ovid," medieval religious lyric, saints' lives, visions of hell and damnation, descriptions of visionary illness, Freud's "Anna O," Kafka's "In the Penal Colony," Wilde's "The Nightingale and the Rose," Woolf's "On Being Ill," Artaud and the theater of cruelty; autobiographical and other writings by Susan Sontag and Inga Clendinnen; theory by Bataille, Deleuze, Dollimore, and Elizabeth Grosz; work on pain by Leder, Morris, Rey and others; poetry by Anne Sexton, Sylvia Plath, Gwen Harwood, Alan Jenkins and others. We will also read Elaine Scarry's "The Body in Pain" and two recent novels: Andrew Miller's "Ingenious Pain" and Manil Suri's "The Death of Vishnu."
Credit 3 units. BU: HUM
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L14 E Lit 374W Epistolary Literature in the 18th Century: Other Peoples' Letters
In this writing intensive course, we will examine the attraction the letter held for authors and readers alike, taking into consideration the advantages and the disadvantages of the form, its role in the development of the early novel, and current theories of epistolary writing.
Credit 3 units. A&S IQ: HUM, WI BU: HUM EN: H
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L14 E Lit 375 The Romantic Period
Credit 3 units. Art: HUM
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L14 E Lit 3752 Modern British Novel
Credit variable, maximum 6 units.
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L14 E Lit 375A American Culture Studies: Methods & Visions
Required course for AMCS Majors. See semester listing for current topics. As a Writing Intensive course, 375A serves as an occasion for AMCS students to think about matters of argument and presentation, and to develop ideas and models for future research. This course is intended for students at the Junior Level or Higher; it fulfills the "multidisciplinary" (MD) requirement for AMCS Minors and the "Methods Seminar" requirements for AMCS Majors.
Same as L98 AMCS 375A
Credit 3 units. A&S IQ: HUM, WI Arch: HUM Art: HUM EN: H
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L14 E Lit 375C Topics in Comparative Literature: Representation and Memory in St. Louis Museums
Same as L16 Comp Lit 375
Credit 3 units. A&S IQ: HUM, LCD, SD Arch: HUM Art: HUM BU: IS EN: H
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L14 E Lit 376 The Victorian Period
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 376A Reading Across the Disciplines: Introduction to the Theoretical Humanities
What does theory look like in an age like ours so sharply marked by interdisciplinarity and in which most humanities scholarship crosses disciplines-- for instance, combining literature or history with philosophyu or critical race studies? In this way all (or almost all) humanities scholars are comparatists in practice if not always in name. The course is designed to introduce this complex and exciting state of affairs to CompLit and English majors, yet any students in a humanities program, or with an interest in the humanities, will fit right in. Our main text is Futures of Comparative Literature, ed. Heise (2017), which contains short essays on topics like Queer Reading; Human Rights; Fundamentalism; Untranslatability; Big Data; Environmental HUmanities. We will supplement this material with relevant short texts from a variety of fields, including some that cross over into the social sciencs.
Same as L16 Comp Lit 376
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 381 Banned Books
Why would anyone want to burn a book? Under what circumstances would you support censorship? Several years ago a Russian student was exiled to Siberia for possessing a copy of Emerson's "Essays"; today, schoolboards in the United States regularly call for the removal of "Huckleberry Finn" and "The Catcher in the Rye" from classrooms and library shelves. Actions like these dramatize the complex interconnections of literature and society, and they raise questions about what we read and the way we read. The course explores these issues by looking closely at several American and translated European texts that have been challenged on moral, socio-political or religious grounds to determine what some readers have found so threatening about these works. Possible authors: Goethe, Voltaire, Rousseau, Defoe, Hawthorne, Flaubert, Twain, Chopin, Brecht, Salinger, Aldous Huxley, Ray Bradbury. Brief daily writing assignments.
Credit 3 units. A&S IQ: HUM Art: HUM BU: ETH
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L14 E Lit 3831 Topics in African-American Poetry
Beginning with the year in which Gwendolyn Brooks became the first African American to win the Pulitzer Prize, we will examine the tradition of African American poetry and the ways in which that tradtition is constantly revising itself and being revised from the outside. We will focus in particular on the pressures of expectation -- in terms of such identity markers as race, gender, and sexuality -- and how those pressures uniquely and increasingly affect African American poetry today.
Same as L90 AFAS 3838
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM
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L14 E Lit 3838 Topics in African-American Poetry
Same as L90 AFAS 3838
Credit 3 units. Art: HUM
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L14 E Lit 385W Comedy, Ancient and Modern
In this course we will examine the nature of dramatic comedy and its role in society. We will read, discuss and write about comedies from ancient Greece and Rome and from various modern nations, paying particular attention to the following questions: Do comic plays reinforce or challenge the preconceptions of their audiences? How have comic playwrights responded to issues such as class, gender, religion, and politics? Why does comedy have such power both to unite and to divide people? This course has an extensive writing component, so much of our time will be spent writing about the comedies we will read, revising what we have written, and discussing how best to write about comedy.
Same as L08 Classics 385W
Credit 3 units. A&S IQ: HUM, LCD, WI Art: CPSC BU: HUM EN: H
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L14 E Lit 386A Topics in African-American Literature: Rebels, Sheroes and Race Men
In this seminar-for we are fortunate to be an elite group this term--we will focus on the first century of African American prose writers. In genre terms that means we will largely, but not exclusively, read autobiographies and novels. Phillis Wheatley, Frederick Douglass, and Harriet Jacobs are now familiar names in U.S. literature surveys, but others are not yet household names, and in fact may never be. We will survey a core group of texts, available at the WUSTL bookstore, but also supplement our readings with materials placed on BlackBoard, via online databases (e.g., materials accessible digitally from the Schomburg Division of the New York Public Library). For AFAS majors, this course counts as Area Requirement 1.
Same as L90 AFAS 386A
Credit 3 units. A&S IQ: HUM, LCD, SC, SD Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 387 African-American Literature: Early Writers to the Harlem Renaissance
Credit 3 units. A&S IQ: HUM, SD Arch: HUM Art: HUM BU: HUM
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L14 E Lit 388 African-American Literature: African-American Writers Since the Harlem Renaissance
African-American literature in the 20th and 21st centuries grows from the Harlem Renaissance into a world-shaping institution. Guggenheim, Pulitzer, and Nobel prize winners; card-carrying Communists, rock-ribbed Republicans, and Black Power nationalists; Broadway playwrights, Book-of-the-Month Club novelists, and even a U.S. President are among the many whose fictions and memoirs we will study, with special attention given to the intimate links between Black writing and Black music. The syllabus will thus feature authors ranging from poet Alice Dunbar Nelson (born 1875) to satirist Colson Whitehead (born 1969), with more than a dozen stops in between. Written assignments may include two papers and two exams. No prerequisites, but related courses such as E Lit 215 and/or AFAS 208 are suggested. Satisfies the American literature requirement in English and/or one 300-level elective requirement in AFAS.
Credit 3 units. A&S IQ: HUM, SC, SD BU: HUM EN: H
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L14 E Lit 3881 Black Women Writers
When someone says, black woman writer, you may well think of Nobel Prize winner Toni Morrison. But not long ago, to be a black woman writer meant to be considered an aberration. When Thomas Jefferson wrote that Phillis Wheatley's poems were "beneath the dignity of criticism," he could hardly have imagined entire Modern Language Association sessions built around her verse, but such is now the case. In this class we will survey the range of Anglophone African American women authors. Writers likely to be covered include Phillis Wheatley, Harriet Wilson, Nella Larsen, Lorraine Hansberry, Octavia Butler, and Rita Dove, among others. Be prepared to read, explore, discuss, and debate the specific impact of race and gender on American literature.
Same as L90 AFAS 3651
Credit 3 units. A&S IQ: HUM, SC, SD Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 388C African American Literature: African American Writers Since the Harlem Renaissance
African American literature in the 20th and 21st centuries grew from a renaissance in Harlem into a world-shaping institution. Public enemies and Nobel prize winners; card-carrying Communists, rock-ribbed Republicans, and Black Power nationalists; Broadway playwrights, Book-of-the-Month Club novelists, and a duly elected U.S. president are among the authors we will study with special attention to the intimate link between black writing and black music. Aiming at chronological and stylistic breadth, the syllabus will begin with poet Alice Dunbar Nelson (born 1875) and end with novelist Colson Whitehead (born 1969), with an array of better-known names--W. E. B. Du Bois, Langston Hughes, Claude McKay, Nella Larsen, Zora Neale Hurston, Richard Wright, Ann Petry, Ralph Ellison, James Baldwin, Gwendolyn Brooks, Amiri Baraka, Alice Walker, and Toni Morrison--coming in between. Assignments will consist of two papers, one presentation, and one exam. Prereqs: none, but related classes such as E Lit 2151 and E Lit 2152 and/or AFAS 255 are suggested. Satisfies the Twentieth Century requirement in English, and/or one 300-level elective requirement in AFAS.
Same as L90 AFAS 388C
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 391 Literature and Medicine
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: ETH, HUM EN: H
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L14 E Lit 391W Literature and Medicine
Credit 3 units. A&S IQ: HUM, WI Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 392W The Rise of the American Short Story
The course will focus on several short stories by 6 different authors in this order: Hawthorne-- My Kinsman, Major Molineux; The Birthmark; Young Goodman Brown; Artist of the Beautiful. Poe: The Black Cat; The Facts in the Case of M. Valdemar; The Tell Tale Heart; The Fall of the House of Usher. James: The Jolly Corner; The Figure in the Carpet; The Real Thing. Crane: The Upturned Face; The Open Boat; The Blue Hotel. Anderson: WINESBURG, OHIO. Hemingway: Indian Camp; A Clean Well-Lighted Place; In Another Country; Now I Lay Me. Faulkner: A Rose for Emily; The Evening Sun; Pantaloon in Black. There will be 2 brief papers 2-3 pages; 2 Introductory Paragraphs; 2 4-6 page papers; and 1 paper covering an entire author. There will be 1 rewrite in each category.
Credit 3 units. A&S IQ: HUM, WI BU: HUM EN: H
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L14 E Lit 394 African Literature in English
Credit 3 units. A&S IQ: HUM, LCD BU: HUM EN: H
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L14 E Lit 394W Writing For and About the Theater
In this course, students will learn to write for and about the theater, exploring different forms of dramaturgical and scholarly research as well as journalistic and academic writing. To build skills in both critical analysis and synthesis, students will learn how the key elements of the playwright's text (e.g., language, character, plot, setting) work to create meaning within the work of dramatic literature and how theatre-makers use the various "languages" of the stage (e.g., costume/scenic/lighting design, music, acting) to give expression to an overarching interpretation of the play. Because research is essential to this course, students will learn how to access a variety of library resources by working closely with our subject librarians. By the end of the semester, students will have assembled a portfolio consisting of both journalistic and academic performance reviews, a dossier of dramaturgical research, and a research-based scholarly paper.
Same as L15 Drama 394W
Credit 3 units. A&S IQ: HUM, WI Arch: HUM Art: HUM BU: HUM EN: H
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L14 E Lit 395 Shakespeare
Credit 3 units.
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L14 E Lit 3951 Shakespeare's Sonnets: Framing the Sequence
We will begin by exploring ways of reading a small number of individual sonnets, proceeding thereafter to think about patterns of meaning in language and image across broader groupings and the sequence as a whole. We will investigate the influence of earlier sonnet tradition, especially Petrarch's sonnets, and the relationship of the poems to modes of sexuality and selfhood. Finally, we will ask how some of Shakespeare's most creative readers--including Wilde, Booth, and Vendler--have responded to the challenges of the Sonnets. Students will work on writing their own commentary on a group of poems.
Same as L93 IPH 3951
Credit 3 units. A&S IQ: HUM Art: HUM EN: H
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L14 E Lit 3952 Shakespeare in Performance
Credit 3 units. A&S IQ: HUM BU: HUM EN: H
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L14 E Lit 3975 Wolves of Wall Street: American Business and Popular Culture
America's perceptions about Big Business and the Free Enterprise system have evolved and changed over time from the 1920s to the present. During the 1980s, for example, Oliver Stone's 'Wall Street' seemed to endorse the notion that "greed is good." Today, however, the topic of rising income inequality has been connected with the collapse of prestigious Wall Street firms, the "housing bubble," a declining middle class, and widespread fear about the future of "The American Dream." This new course examines a variety of artistic, ethical and historical perceptions about American Business as depicted in popular culture and the arts over the past hundred years. How have America's foremost artists (among them F. Scott Fitzgerald, Eugene O'Neill, Arthur Miller, Martin Scorsese), dealt with questions of conspicuous consumption, the acquisition of capital for its own sake, and the disparity between rich and poor? We survey several artistic genres and artistic forms, including American tragic works like 'The Great Gatsby' and 'Death of a Salesman,' to popular musicals such as 'How to Succeed in Business' without Really Trying and 'The Producers.'
Same as L98 AMCS 3975
Credit 3 units. A&S IQ: HUM BU: HUM EN: H
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L14 E Lit 399 Senior Research Seminar
This course is tailored to the needs of students who are pursuing honors in English in their senior year. It will develop students' ability to gauge how different approaches affect the research and the outcome of a project in literary studies. It will guide them in their research by analyzing and discussing research design, the construction of an archive, and the assessment and use of sources. Assignments will include annotated bibliographies, summaries of the critical debate on student topics, abstract writing, research presentations, as well as drafts and final versions of chapters or essays. We will workshop many of these assignments in the classroom and practice peer review. The seminar will stretch over two semesters, ending before spring break, when honors work is due in the college. It is required for students who pursue honors by coursework and by thesis.
Credit 3 units.
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L14 E Lit 3991 Senior Research Seminar I
This course is tailored to the needs of students who are pursuing honors in English in their senior year. It will develop students´ ability to gauge how different approaches affect the research and the outcome of a project in literary studies. It will guide them in their research by analyzing and discussing research design, the construction of an archive, and the assessment and use of sources. Assignments will include annotated bibliographies, summaries of the critical debate on student topics, abstract writing, research presentations, as well as drafts and final versions of chapters or essays. We will workshop many of these assignments in the classroom and practice peer review. The seminar will stretch over two semesters, ending before spring break, when honors work is due in the college. It is required for students who pursue honors by coursework and by thesis.
Credit 3 units. BU: HUM
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L14 E Lit 3992 Senior Research Seminar II
This course is tailored to the needs of students who are pursuing honors in English in their senior year. It will develop students´ ability to gauge how different approaches affect the research and the outcome of a project in literary studies. It will guide them in their research by analyzing and discussing research design, the construction of an archive, and the assessment and use of sources. Assignments will include annotated bibliographies, summaries of the critical debate on student topics, abstract writing, research presentations, as well as drafts and final versions of chapters or essays. We will workshop many of these assignments in the classroom and practice peer review. The seminar will stretch over two semesters, ending before spring break, when honors work is due in the college. It is required for students who pursue honors by coursework and by thesis.
Credit 2 units.
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L14 E Lit 400 Independent Study
Credit 3 units.
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L14 E Lit 4003 Blacks in Fiction
Credit 3 units. Art: HUM
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L14 E Lit 402 Introduction to Graduate Studies I: Research
This course seeks to prepare students for successful doctoral study in English literature. We will examine the history of our discipline and its institutions, including shifting definitions of our objects of study and the histories of exclusion and inclusion that accompany these shifts. We will also consider issues of canonicity, especially as they relate to empire building both within and outside the academy. We will survey critical methodologies and consider what is at stake in the objects we read and the ways we choose to read them. Finally, we will introduce challenges to the traditional organizing frameworks of humanism and national literature. Focused on the academic discipline of literary study, we will also consider the new ways in which the English Ph.D. is preparing students for multiple roles and careers both in and beyond academia.
Credit 3 units. A&S IQ: HUM Art: HUM EN: H
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L14 E Lit 403 Black and White in American Drama
This course will address the complex issue of race in America through the 19th and 20th centuries as dramatized by American playwrights, black and white. Authors include Countee Cullen, Lillian Hellman, Eugene O'Neill, Jean Toomer, Langston Hughes and Arthur Miller. Prerequisites: Junior standing, two 300 level courses or better.
Credit 3 units. Art: HUM
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L14 E Lit 404 Topics for Writers: Beckett
WAITING FOR GODOT, HAPPY DAYS, KRAPP'S LAST TAPE: these are but three of Samuel Beckett's revolutionary texts for theatre. The complete canon of plays will be examined for structure and compositional elements. Students undertake exercises in dramatic composition and perform a chamber presentation of ENDGAME. Course is intended for writers with some experience of the dramatic form. Intending students MUST interview with Instructor Nov. 12-14.
Credit 3 units. Art: HUM
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L14 E Lit 405 Living Influences: Poets and the Poets Who've Shaped Them
This course examines a number of very contemporary collections of poetry (e.g. from first books writers like Karen Volkman and Greg Williamson, to more established writers like Carl Phillips and Frank Bidart) to discover how generations of writers speak to and through one another. The course considers the nature and possible anxieties of writerly influence and how traditional and/or canonical writers' voices, verse, and vision have shaped a number of poets writing today. This class requires at least a basic knowledge of poetry in English up to the 1950's as we will be moving freely among writers such as Ben Jonson, George Herbert, Gerard Manly Hopkins and Emily Dickinson, as well as Pound, Eliot, Lowell, and Plath.
Credit 3 units. Art: HUM
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L14 E Lit 4050 Theory and Methods in the Humanities
Same as L93 IPH 405
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H
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L14 E Lit 407 Old English, Introductory
Study of the Anglo-Saxon language and introduction to major prose and short poetry of the period. Prerequisites: junior standing and 6 units of literature.
Credit 3 units. Art: HUM
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L14 E Lit 408 Old English Literature
Close study of some major literary texts (e.g.. Beowulf, the Exeter book) and major issues (e.g., Anglo-Saxon and Latin culture, traditions of heroic literature) of the Anglo-Saxon tradition. Prerequisite: E Lit 407, or permission of instructor.
Credit 3 units. Art: HUM
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L14 E Lit 410 Medieval English Literature I
Credit 3 units. A&S IQ: HUM Art: HUM EN: H
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L14 E Lit 4101 Medieval English Literature II
Topics course in Medieval English literature.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H
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L14 E Lit 411 Old and Middle English Literature
Early English literature from Beowulf and Anglo-Saxon poetry, in translation, through major works in Middle English of the 14th and 15th centuries, exclusive of Chaucer.
Credit 3 units. Art: HUM
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L14 E Lit 4111 Interdisciplinary Studies in the Humanities
This course will open with a survey of the classical tradition in pastoral/bucolic. We will consider questions of genre, intertextuality and ideology, and we will ask how ´the lives and loves of herders´ became favored ground for literary meditation on issues of surface and depth, reality and illusion, artifice and sincerity. This portion will involve intensive reading in translation of Theocritus, Vergil and Longus. In the second half of the semester, we will consider the survival, adaptation and deformation of ancient pastoral themes, forms and modes of thought in British and American writing from the 19th and 20th centuries. We will read works of Mark Twain, Kenneth Grahame, Thomas Hardy and Tom Stoppard.
Same as L93 IPH 4111
Credit 3 units. A&S IQ: HUM, LCD EN: H
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L14 E Lit 412 16th-Century English Literature
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H
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L14 E Lit 413 17th-Century English Literature: 1603-1660
Selected readings in English literature from Donne and Jonson through Dryden.
Credit 3 units. A&S IQ: HUM Art: HUM
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L14 E Lit 415 18th-Century English Literature
Selected readings in English literature from Pope and Swift through the age of Johnson.
Credit 3 units. A&S IQ: HUM Art: HUM
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L14 E Lit 415A Readings in 19th-Century English Literature
Credit 3 units. Art: HUM
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L14 E Lit 416 English Literature of the Romantic Period
Credit 3 units. Art: HUM
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L14 E Lit 4172 Roman Remains: Traces of Classical Rome in Modern British Literature
This course will examine the use of the Roman textual and material inheritance in poets, novelists and critics of the late nineteenth and twentieth centuries working in Britain, and will ask how modernity addresses the claims of the classical tradition. We will place Thomas Hardy's "Poems of 1912-13" next to Vergil's Aeneid, then survey Hardy's relationship to the visible remainders of Rome and the people it conquered -- roads, barrows, forts -- in the landscape of Dorset. After examining the representation of the Celtic hill-fort in fiction, and the legacy of Vergilian representations of the countryside in poetry, we will consider representations of Rome in light of modern imperialism (Joseph Conrad's Heart of Darkness and Ezra Pound's Homage to Sextus Propertius) and examine the place of Vergil in T. S. Eliot's critical and poetic practice.
Same as L93 IPH 4171
Credit 3 units. A&S IQ: HUM EN: H
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L14 E Lit 418 Victorian Literature 1830-1890
Readings in such authors as Carlyle, Tennyson, Browning, Mill, Arnold, and Pater.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H
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L14 E Lit 420 Topics in English and American Literature
Comparing the literatures -- readings in the literature and theory of English and American Literature. Topics vary according to semester offerings.
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H
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L14 E Lit 423 Topics in American Literature
Credit 3 units. A&S IQ: HUM, SD Art: HUM EN: H
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L14 E Lit 4231 Topics in American Literature I
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H
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L14 E Lit 4232 Slavery and the American Imagination
Credit 3 units. A&S IQ: HUM Art: HUM
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L14 E Lit 424 Topics in American Literature II: Modernisms in America
This course offers an advanced introduction to both the literature and the concept of modernism, the "ism" used to mark the experimental verve of early twentieth-century writing and to grasp its ties to modernity, or the modern social world. As the course title suggests, we will devote most of our time to the career of modernism in the United States, a place imagined as both the modernist nation par excellence and the desert modernism escaped to be born. Three groups of primary texts--early modernist experiments, 1920s modernist landmarks, and Great Depression revisions--will illuminate the grand ambitions of eccentric literary forms and sequestered avant-garde movements; the public disputes and buried alliances between "high" expatriate and Harlem Renaissance modernisms; and the influential Depression-era reinterpretation of modernism as reactionary self-indulgence. The syllabus will feature fiction, poetry, and drama by old and new literary celebrities: Djuna Barnes, John Dos Passos, T. S. Eliot, F. Scott Fitzgerald, Mike Gold, Ernest Hemingway, Nella Larsen, Meridel LeSueur, Claude McKay, Clifford Odets, Tillie Olsen, Ezra Pound, Jean Toomer, and Richard Wright. A shorter list of critical essays will highlight modernism's tendency to theorize itself while introducing 21st-century perspectives from the "New Modernist Studies." Satisfies the American requirement. For undergraduates, Junior or Senior standing is required.
Credit 3 units. A&S IQ: HUM Art: HUM EN: H
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L14 E Lit 4240 Topics in American Literature II
Fiction not often found in the standard survey course, such as Harold Frederic's The Damnation of Theron Ware, G. W. Cable's The Grandissimes, Frank Norris' The Octopus, Jack London's Martin Eden, Thornton Wilder's Heaven's My Destination, Dorothy Baker's Young Man With a Horn, R. P. Warren's All the King's Men, Thomas Pyncheon's V, short works by Edith Wharton and Ring Lardner.
Credit 3 units. Art: HUM
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L14 E Lit 4241 In the Kingdom of Swing-Black American Culture
An examination of the development of African-American literature and culture between 1929 and 1941.
Credit 3 units. Art: HUM
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L14 E Lit 4243 Contemporary African-American Drama
A close study of selected plays from Africa, the Caribbean and the United States. We shall consider plays by Lonnie Carter, John Pepper Clark, Adrienne Kennedy, Wole Soyinka, Efua T. Sutherland, Derek Walcott, and Edgar White, among others.
Credit 3 units. Art: HUM
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L14 E Lit 4244 Topics in African-American Literature
Hold for new hire
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H
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L14 E Lit 425 Early American Literature: American Modernisms
his seminar offers an advanced introduction to both the literature andthe concept of modernism, the "ism" used to mark the experimental verve of early twentieth-century writing and to grasp its ties to modernity, or the modern social world. As the course title suggests, we will devote most of our time to the career of modernism in the United States, a place imagined as both the modernist nation par excellence and the desert modernism escaped to be born. Three groups of primary texts--early modernist experiments, 1920s modernist landmarks, and Great Depression revisions--will illuminate the grand ambitions of eccentric literary forms and self-sequestered avant-garde movements; the public disputes and buried alliances between "high" expatriate and Harlem Renaissance modernisms; and the influential Depression-era reinterpretation of modernism as reactionary self-indulgence. The syllabus will feature fiction, poetry, and drama by old and new literary celebrities: Djuna Barnes, John DosPassos, T. S. Eliot, F. Scott Fitzgerald, Mike Gold, Ernest Hemingway, Ella Larsen, Meridel LeSueur, Claude McKay, Clifford Odets, Tillie Olsen,Ezra Pound, Jean Toomer, and Richard Wright. A shorter list of critical essays will highlight modernism's tendency to theorize itself whileintroducing 21st-century perspectives from the "New Modernist Studies."
Credit 3 units. A&S IQ: HUM, SD Art: HUM
View Sections
L14 E Lit 425C Humanities by the Numbers
To what extent can computational techniques that draw on statistical patterns and quantification assist us in literary analysis? Over the semester, we will juxtapose the close reading of historical documents or literary works with the "distant reading" of a large corpus of historical data or literary texts. We will ask how the typically "human" scale of reading that lets us respond to literary texts can be captured on the "inhuman" and massive scales at which computers can count, quantify and categorize texts.While this class will introduce you to basic statistical and computational techniques, no prior experience with technology is required. Prerequisites: two 200 level or one 300-level course in literature or history. This is a topics-type course and the specific documents and works examined will vary from semester to semester. Please see semester course listings for current offerings.
Same as L93 IPH 425
Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H
View Sections
L14 E Lit 426 The American Renaissance
Literature of the mid-nineteenth century with attention to social and intellectual backgrounds and the sources of the transcendentalist movement.
Credit 3 units. A&S IQ: HUM Art: HUM EN: H
View Sections
L14 E Lit 426C Imagining the City: Crime and Commerce in Early Modern London
The astonishing demographic and economic growth of early modern London, and the rapid increase in spatial and social mobility that accompanied this growth seemed to harbinger, in the eyes of many contemporaries, a society in crisis and perhaps on the brink of collapse. As increasing numbers of vagrants or masterless men flocked to the metropolis and a growing number of people - apprentices, domestic labor, street vendors etc - lived on the fringes of legitimacy and at risk of lapsing into vagrancy, policing early modern London provided unique challenges for authorities. At the same time, the very notion of the social - a shared space of kinship and community could often seem to be under threat as an emerging market and a burgeoning commodity culture reshaped the traditional underpinnings of social and economic transactions. Yet, late Tudor and early Stuart London remained by far England's most prosperous metropolis, its primary market, home to a burgeoning print culture and nourishing theater and emerged, eventually, as the epicenter of a global economy. This course will consider the topographic, social and institutional configuration of early modern London and the ways in which these were reimagined and negotiated in the literature of the period. Drawing on the drama of the period and a wide array of pamphlet literature, we will discuss how civic institutions handled the growing influx of the poor and adapted to the increasing power of an emerging bourgeoisie who asserted themselves in unprecedented ways. In addition we will consider secondary sources ranging from maps, theories of urban space and social and economic historiography as well as digital archives and computational techniques that allow us to "scale up" our thinking about early modern London to a vast corpus of texts and documents.
Same as L93 IPH 426
Credit 3 units. A&S IQ: HUM EN: H
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L14 E Lit 427 American Literature: The Rise of Realism to World War I
The maturing of American literature from the regional origins of realistic fiction just prior to the Civil War through the early naturalist novel and the beginnings of modern American poetry.
Credit 3 u
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https://insidemusicschools.com/2020/08/05/the-top-32-classical-jazz-contemporary-voice-programs-in-the-u-s/
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The Top 32 Classical, Jazz & Contemporary Voice Programs in The U.S.
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The Top 32 Classical, Jazz & Contemporary Voice Programs in The U.S.. We are the premier music school admissions consultancy, led by world-renowned music educator and head of admissions at Berklee College of Music.
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en
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Inside Music Schools
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https://insidemusicschools.com/2020/08/05/the-top-32-classical-jazz-contemporary-voice-programs-in-the-u-s/
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by Steven Lipman
If you’re one of the up-and-coming songbirds of the world, you may be asking yourself, “What is the best school at which to study voice?”
For singers, studying vocal performance in college is the chance to develop both a larger “vocabulary” if you will, and a more practiced technique. And for many, their vocal performance program of choice is where passionate singers discover their voice. Surrounded by other serious, like-minded, and complimentary musicians – both vocal majors and otherwise – you can find lasting and valuable inspiration.
But let’s face it. You’re a creative person who needs the right environment to flourish. With enough hard work and fortitude there’s no doubt you can make the most of a vocal performance program anywhere. You can even strive for the “best” music school, but you’ll never have the same experience as attending the “right” school for you.
And the right school – or a selection of top schools – for you will have specific criteria for auditions, portfolios, and experience. Some schools are more rigorous and disciplined, while others offer experimental paths to explore your creativity. You might also want to know whether your favorite singer or composer is an alumni of one of your top choices, which you might find out below.
Inside Music Schools has put together a list of the top 32 vocal performance bachelors programs to shed some light and offer guidance. For singers, preparing for the next step to serious vocal study is crucial, and that’s where we can help.
We are educators who know music schools inside and out. Informed by over 40 years of experience in music school admissions, we offer students audition preparation, portfolio development, and a personalized list of schools to submit applications to based on your career goals and creative aspirations.
If you want some quick facts on schools you may already have in mind, take a look at this list. You’ll find some information about the school and program, top faculty, and notable alumni. Looking forward to hearing from you!
CLASSICAL / OPERA VOICE PROGRAMS:
1. THE JUILLIARD SCHOOL
New York City, NY
In name alone, Juilliard is arguably the most famous – and one of the most exclusive – music schools in the world. It’s legacy as a performing arts school bleeds into the Marcus Institute for Vocal Arts, with a curriculum spanning one of the broadest ranges of performance.
Find out more about Juilliard’s vocal program here.
Outstanding Faculty: Edith Wiens, Darrell Babidge, Cynthia Hoffmann, Donald Palumbo, Natalia Katyukova
Well-known Alumni: Renee Fleming, Anne Brown, Neil Rosenshein, Ruby Elzy, Hanan Alattar, Paul Groves, Audra McDonald, Pamela Coburn, Sarah Brightman
2. UNIVERSITY OF CINCINNATI COLLEGE-CONSERVATORY OF MUSIC
Cincinnati, OH
Along with offering the full range of degrees from bachelor’s to artist’s diplomas, the University of Cincinnati College – Conservatory of Music produces a staggering six operas most years. Students of opera often find their first gigs after graduation from one of several companies who scout there.
Find out more about CCM’s opera program here.
Outstanding Faculty: Karen Lykes, Thomas Baresel, Robin Guarino, Kenneth Shaw
Well-Known Alumni: Kathleen Battle, Cortez Mitchell, Corwyn Hodge, Sylvia Cooper, Audrey Luna
3. NEW ENGLAND CONSERVATORY
Boston, MA
The extensive voice and opera faculty at NEC take their students through a course of study spanning baroque to modern, and operatic singing. Students who are particularly focused on classical forms will be well-served at NEC, perhaps the oldest traditional conservatory in the country.
Find out more about studying voice at NEC here.
Outstanding Faculty: Carole Haber, Jane Eaglen, Justin Williams, Karen Holvik, Joshua Major
Well-Known Alumni: Phyllis Curtin, Denyce Graves, Deke Sharon, Monir Vakili
4. INDIANA UNIVERSITY (JACOBS SCHOOL OF MUSIC)
Bloomington, IN
Indiana University’s Jacobs School of Music is one of the largest and most diverse music programs in the country. Your talents will be employed at the Jacobs School of Music Ballet and Opera theater, and most all students take part in at least one of six double-cast operas and musicals each season.
Find out more about studying voice and opera at Jacobs here.
Outstanding Faculty: Brian Horne, Marietta Simpson, Heidi Grant Murphy
Well-known Alumni: Lawrence Brownlee, Jamie Barton, Kevin Langan, Vivica Genaux, William Burden, Bruce Hubbard, Sylvia McNair
5. UNIVERSITY OF ROCHESTER (EASTMAN SCHOOL OF MUSIC)
Rochester, NY
Eastman prides itself as an artistically diverse program, even for opera majors. Students will learn from a range of styles outside their focus because of a notable emphasis on holistic development in technique and repertoire.
Learn more about studying voice at Eastman here.
Outstanding Faculty: Katherine Ciesinski, Steven Daigle, Lindsay Baker, Timothy Long, Kathryn Cowdrick
Well-known Alumni: William Warfield, Joyce Castle, Karen Holvik, Thomas Meglioranza, Maurice Stern, Claire Watson
6. BOSTON UNIVERSITY
Boston, MA
While most notably a major research university, Boston University’s School of Music students benefit greatly from both accomplished faculty and expansive, well-rounded academic opportunities. Students who would like the option to incorporate a liberal arts education into their musical one will enjoy studying at BU.
Learn more about Boston University’s vocal program here.
Outstanding Faculty: Sharon Daniels, James Demler, Penelope Bitzas
Well-known Alumni: Janet Chvatal, Arturo Chacon-Cruz, Grace Bumbry, Marcus Haddock, Stephen Salters
7. MANHATTAN SCHOOL OF MUSIC
New York City, NY
Manhattan School of Music’s “historical approach” takes most of its students through different eras of vocal music. They also boast performance opportunities with the likes of the New York Philharmonic, the Verdi Square Performing Arts Festival, and more. Little can compare with studying the arts in NYC.
Learn more about studying voice at the Manhattan School of Music here.
Outstanding Faculty: Maitland Peters, Marlena Malas, Harolyn Blackwell, Neil Rosenshein, Ashley Putnam, James Morris
Well-Known Alumni: Dawn Upshaw, Beth Clayton, Kate Aldrich, Ned Barth, Lauren Flanigan, Brandon Jovanovich, Susan Neves, Sanford Sylvan
8. JOHNS HOPKINS UNIVERSITY (PEABODY INSTITUTE)
Baltimore, MD
This incredibly vigorous program offers students many avenues to perform across the nation and the world. Additionally, Peabody’s faculty are among some of the most accomplished in the world, a valuable asset for any ambitious student.
Learn more about studying voice at the Peabody Institute here.
Outstanding Faculty: Madeleine Gray, Min Sang Kim, Lori Sen, Alina Kozinska, Kristen Toedtman
Well-known Alumni: Jessye Norman, James Morris, Rebecca Pitcher, Tori Amos
9. ACADEMY OF VOCAL ARTS
Philadelphia, PA
For operatic soloists, this is one of the top schools to seek admission. It also offers tuition-free education for their highly-competitive program – only about 30 students a session are admitted.
Learn more about studying voice at the Academy of Vocal Arts here.
Outstanding Faculty: Luis Ledesma, Sally Wolf, Bill Schuman, Florence Quivar
Well-known Alumni: Beverly Wolff, Seymour Schwartzman, Gwendolyn Bradley, Gregory Stapp, Joyce DiDonato, Richard Troxell
10. BARD COLLEGE & CONSERVATORY OF MUSIC
Annandale-on-Hudson, NY
Another incredibly competitive program, voice students at Bard embark on a storied tradition of musical education excellence. Intensive language lessons help students explore deeper into the heart of their favorite French, Italian, and German operas.
Learn more about studying voice at Bard College here.
Outstanding Faculty: Ilka LoMonaco, Rufus Muller, Teresa Buchholz
Well-known Alumni: Ann Moss, Gilda Lyons, Attila Dobak, Jeanne Lee, Michelle Trainor, Davron Monroe
11. CARNEGIE MELLON UNIVERSITY
Pittsburgh, PA
Carnegie Melon’s robust and diverse musical program is made more valuable by its cutting-edge academic offerings. Vocal students take on a diverse set of courses for a holistic and technology-enhanced learning experience. Their musical theater program is among the very best in the country.
Learn more about studying vocals at Carnegie here.
Outstanding Faculty: Maria Spacagna, Douglas Ahlstedt, Marianne Cornetti, Thomas Douglas
Well-known Alumni: Liam Bonner, Lisa Vroman, Emily Skinner, Leslie Odom Jr.
12. RICE UNIVERSITY (SHEPHERD SCHOOL OF MUSIC)
Houston, TX
Rice University’s music program is a major part of Houston’s cultural scene, averaging several hundred performances and lectures offered each year. They are also constructing a new 600-seat, European-style theatre to house one of the country’s most quickly-evolving opera programs.
Learn more about studying voice at Shepherd here.
Outstanding Faculty: Stephen King, Bethany Self, Robin Rice
Well-known Alumni: Fredrick Ballentine, Ben Edquist, Ricardo Jose Rivera-Soto, Angel Vargas, Nicholas Newton, Lindsay Kate Brown, Brandon Gibson
13. NORTHWESTERN UNIVERSITY (BIENEN SCHOOL OF MUSIC)
Evanston, IL
Bienen’s opera program is a robust one, with three productions put on a year. Also only a short drive from downtown Chicago, this school offers a massive amount of performance opportunities in a widely-coveted music scene.
Learn more about studying voice at Bienen here.
Outstanding Faculty: Pamela Hinchman, Theresa Brancaccio, W.Stephen Smith, Nancy Gustafson
Well-known Alumni: Grace Bumbry, Mary Dunleavy, Phillip Skinner, Nancy Gustafson, Sherrill Milnes, Margaret Lloyd
14. VANDERBILT UNIVERSITY (BLAIR SCHOOL OF MUSIC)
Nashville, TN
Vocal students at Blair are in the heart of Nashville, with all its varied and rich musical history. Blair alumni have found themselves performing across the world, armed with a valuable education in music business and marketing.
Learn more about studying vocals at Blair here.
Outstanding Faculty: Gayle Shay, Tyler Nelson, Amy Jarman, Tracy Prentice
Well-known Alumni: Chris Mann, Evan Mack, Joshua McGuire
15. UNIVERSITY OF SOUTHERN CALIFORNIA (THORNTON SCHOOL OF MUSIC)
Los Angeles, CA
You’ll be busy at Thornton not only because you’re a stone’s throw away from the renowned Los Angeles music scene, but because students at Thornton take on many performance opportunities to continually sharpen their skills in voice, performing arts, and musical literacy. LA’s ever-expanding cultural and arts scene presents a creative environment for music students.
Learn more about voice at Thornton here.
Outstanding Faculty: Lynn Helding, Thomas Michael Allen, Elizabeth Hynes, Rod Gilfry, Lisa Sylvester
Well-known Alumni: Marilyn Horne, Angela Meade, Kelley O’Connor, Alexander Blake, Karen Garret, Jessica Rivera,
16. UNIVERSITY OF MIAMI (FROST SCHOOL OF MUSIC)
CORAL GABLES, FL
The Frost School of Music is known for its highly innovative music program that is, perhaps more than others, integrated deeply with technology. Along with a coveted set of entrepreneurial skills, voice students at Frost are truly receiving a cutting-edge education.
Learn more about singing at Frost here.
Outstanding Faculty: Frank W. Ragsdale, Robynne Redmon, Jeffrey Buchman
Well-known Alumni: Marvis Lynn Martin, John Easterlin, Johanna Meier, Carl Franklin DuPont, Linsey Coppens, David Tayloe, Elizabeth Caballero, Sandra Lopez
17. SOUTHERN METHODIST UNIVERSITY (MEADOWS SCHOOL OF THE ARTS)
Dallas, TX
The Meadows School offers wide-ranging opportunities to develop the whole artist, as it’s focus on a complete set of artistic study enables students to explore both their passions and interests in excellent programs.
Learn more about studying vocal arts at Meadows here.
Outstanding Faculty: Cliftin Forbis, Barbara Hill Moore, Virginia Dupuy
Well-known Alumni: John Holiday, Laura Claycomb, Fernando del Valle
JAZZ & POPULAR MUSIC:
1. BERKLEE COLLEGE OF MUSIC
Boston, MA
Berklee is a name that is behind the careers of many artists who have transformed their genres. The highly creative, collaborative, and expansive offerings for both performance and academic enrichment are renown the world over, and will suit adventurous, modern-minded students perfectly.
Learn more about studying vocals at Berklee here.
Outstanding Faculty: Livingston Taylor, Paula Cole, Peter Eldridge, Janice Pendarvis, Jerome Kyles, Aubrey Johnson
Well-known Alumni: Charlie Puth, Meghan Trainor, John Mayer, Melissa Etheridge, Esperanza Spaulding, Donald Fagen, Natalie Maines, Jillian Butler
2. THE NEW SCHOOL UNIVERSITY– JAZZ & CONTEMPORARY MUSIC PROGRAM
New York City, NY
The sheer amount of ensembles give New School students almost non-stop performance opportunities. It’s a program not for the faint of heart, but these singers leave incredibly well-rounded and often ready to embark on exciting and thrilling careers in modern music.
Learn more about The New School’s vocal program here.
Outstanding Faculty: Sarah Charles, Marlon Saunders, Machan Taylor, Richard Harper, Amy London, Charlotte Small
Well-known Alumni:Jazzmeia Horn, Bianca Muniz, Bilal Sayeed Oliver, Becca Stevens, Thana Alexa
3. BELMONT UNIVERSITY (THE MIKE CURB SCHOOL OF MUSIC)
Nashville, TN
Belmont University is right on Music Row in Nashville, which makes the Mike Curb School an exciting and adventurous choice for modern voice majors. These students perform often in one of the world’s most famous music scenes for rock, pop, jazz, and of course, country.
Learn more about singing at Mike Curb School of Music here.
Outstanding Faculty: Sandra Dudley, Henry Smiley, Stephanie Adlington, Bruce Bennett
Well-known Alumni: Brad Paisley, Trish Yearwood, Deonte Warren, Steven Curtis Chapman, Levi Kreis
4. UNIVERSITY OF THE ARTS
Philadelphia, PA
UArts’ vocal program – and it’s whole music program at large – is growing quickly. A newly-installed Laurie Wagman recording studio is launching the performance and production programs into a new tier, so it’s a great time to consider this school for studying music.
Learn more about singing at UA here.
Outstanding Faculty: Tiffany Jones, Reggie Pindell, Liz Radigonda
Well-known Alumni: Josiah Wise, Elle King, Matt McAndrew, Nicole Tranquillo
5. UNIVERSITY OF SOUTHERN CALIFORNIA (Thornton School of Music)
Los Angeles, CA
Thornton, along with having an incredible classical and operatic program, developed one of the finest jazz music curriculums in the country. Long traditions of excellence inform a voice student’s educational and professional career. USC’s Popular Music Program is among the country’s most competitive and prestigious programs.
Learn more about studying jazz & pop vocals at Thornton here.
Outstanding Faculty: Patrice Rushen, Sara Gazarek, Jeffrey Allen, Lyndia Johnson, Parmer Fuller, Adriana Balic
Well-known Alumni: Renee Elise Goldsberry, Rozzi Crane, Tamar Davis, Salli Terri
6. LOS ANGELES COLLEGE OF MUSIC
Los Angeles, CA
Located in the heart of the entertainment and performance industry, students at the Los Angeles College of Music are a hotbed of exciting and inventive hotbed musical talent redefining the industry.
Learn more about studying voice at LACM here.
Outstanding Faculty: David Joyce, Cathy Segal-Garcia, Francisco Ruiz, Dani Palomino
Well-known Alumni: Debi Nova, Mayu Wakisaka, Margie Mays, Tal Wilkenfeld
7. SAN FRANCISCO CONSERVATORY OF MUSIC
San Francisco, CA
Vocal students at San Francisco Conservatory of Music deeply explore the early repertoires of Gershwin, Sondeim, and the like while also engaging in traditional jazz styles.
Learn more about vocals at San Francisco Conservatory here.
Outstanding Faculty: Carmen Bradford, Clairdee
Well-known Alumni: Desiree Goyette, Arielle Jacobs, Gwendoline Yeo
8. UNIVERSITY OF MIAMI (FROST SCHOOL OF MUSIC)
Coral Gables, FL
The Frost Method is a style of teaching music developed and perfected at Frost. Known far and wide as an innovative and technology-enhanced music school, modern vocalists will dive into varied and at times highly-experimental training and ensembles. Frost remains at the forefront of top music programs.
Outstanding Faculty: Alison Wedding, Kate Reid
Well-known Alumni: Carmen Lundy, Jeremy Fox, Arianna Neikrug, Raul Midon, Dawnn Lewis, Justin John Moniz
9. UNIVERSITY OF MICHIGAN
Ann Arbor, MI
For this public university, the conservatory-level vocal programs offer an incredible opportunity – especially if you’re interested in majoring or minoring in music, or pursuing a double (academic) major. U of M has been called the “quintessential” American university experience.
Learn more about studying music at University of Michigan here.
Outstanding Faculty: Dennis Wilson
Well-known Alumni: Sachal Vasandani, Tyler Spencer, Becky Baeling, Joe Henry, Theo Katzman, Antwaun Stanley
10. OBERLIN COLLEGE & CONSERVATORY
Oberlin, OH
At Oberlin, all music students get weekly studio time, offering a lot of experience recording and producing music. With only about 30 students admitted each year, it’s one of the more robust and competitive programs, and an ambitious jazz singer will do well with this somewhat tucked-away school. Undergrads only; many double-major students here (music & academics).
Learn more about voice at Oberlin here.
Outstanding Faculty: LaTanya Hall
Well-known Alumni: Liz Phair, Josh Ritter, Judy Kuhn, Jason Myles Goss, Carla Kihlstedt, Amy X Neuburg
11. UNIVERSITY OF HARTFORD (HARTT SCHOOL OF MUSIC JACKIE MCLEAN INSTITUTE OF JAZZ)
Hartford, CT
While there’s only a small jazz vocal program, faculty Shawnn Monteiro and Nancy Anderson – incredibly accomplished singers and educators in their own right – foster incredible talents amid a program with a long jazz tradition. An impressive list of small combos abound.
Learn more about the Jackie McClean Institute here.
Outstanding Faculty: Nancy Anderson, Shawnn Monteiro
Well-known Alumni: Dionne Warwick, Javier Colon, Phillip Boykin, Dan O’Connor, Jessica Vosk
12. NEW YORK UNIVERSITY – STEINHARDT
New York City, NY
NYU’s Bachelor of Music in Contemporary Voice is a program that explores popular singing and songwriting in both a deeply academic and musically experimental manner. It’s a rigorous program that will develop strong career readiness skills for new vocal graduates. Outstanding opportunities to hear live music at every turn.
Learn more about studying voice at Steinhardt here.
Outstanding Faculty: Janice Pendarvis, Ana Flavia Zurim, Alex Gemignani, Sheri Sanders, Justin John Moniz
Well-known Alumni: Stefani Angelina Germanotta, Donald Glover, Idina Menzel, Dot Da Genius, Mary Wilson, Patti Scialfa
13. WILLIAM PATERSON UNIVERSITY
Wayne, NJ
Ensembles at William Paterson travel all over the country to participate in competitions and performances. Their highly-credentialed mostly NY-based faculty train students in jazz, musical theater, teaching, and other fields, and they boast a very high job-placement rate.
Learn more about studying voice at William Paterson here.
Outstanding Faculty: Nancy Marano
Well-known Alumni: Judy Bady, Alexis Cole, Jewel Crenshaw, Sarah Manning
14. UNIVERSITY OF COLORADO – DENVER
Denver, CO
UC Denver’s College of Music offers a well-rounded vocal program perfect for students looking to incorporate music into a progressive liberal arts education. The program at Univ. of Col – Denver includes strong music business/industry courses.
Outstanding Faculty: Erin Hackel, Owen Kortz, Douglas Krause
Well-known Alumni: Isaac Slade, Chloe Tang
15. UNIVERSITY OF CALIFORNIA AT LOS ANGELES (HERB ALPERT SCHOOL OF MUSIC)
Los Angeles, CA
UCLA’s Herb Alpert School of Music is considered one of the best music schools on the west coast, and for good reason. Voice students benefit from a wide range of ensembles featuring incredibly talented student and teacher musicians to develop a wide breadth of performance and compositional experience.
Learn more about UCLA’s voice program here.
Outstanding Faculty: Barbara Morrison, Michele Weir
Well-known Alumni: Kalil Wilson, Martha Gonzalez
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[
"photo display ideas",
"gallery wall ideas",
"how to hang a gallery wall",
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"how to hang photos on wall"
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[
"Alyssa Longobucco"
] |
2022-10-28T18:12:30.686380-04:00
|
From monochromatic gallery walls to flexible leaning displays, these photo wall ideas will bring new energy to your collections of art and family memories.
|
en
|
/_assets/design-tokens/housebeautiful/static/images/favicon.127a4ad.ico
|
House Beautiful
|
https://www.housebeautiful.com/design-inspiration/g41792861/photos-on-wall-ideas/
|
You probably already know that displaying photos and artwork around your home is a great way to up the personality of your space—but how you hang said photos on your walls can also upgrade the pieces themselves, turning flea market finds and iPhone shots into museum-worthy magic. Check out these 30 creative ways to display your family photos and artwork collections, from vintage-inspired picture rails to modern ledges and everything in between, you're sure to find a display and composition you love ahead.
A hammer and nails aren't a prerequisite to a beautiful photo display—in fact, you don't need them at all! Take a hint from designer Sarah Magness' handbook and use any available surface to lean your artwork instead. Just make sure the pieces aren't too precious or at risk of being plowed over by kids or pets.
When it comes to hanging treasured pieces of artwork, you want to put them somewhere you can really enjoy them every day. And if that spot happens to be the ceiling of your bedroom? Well, so be it! The creative locale can actually be a great spot for a one-of-a-kind display, as seen in this dramatic primary suite designed by Krystal Matthews.
To make a photo or art collection feel cohesive, stick to a general theme (don't worry, it doesn't have to be too prescriptive!), like the loosely nautical display seen here in the home of designer Jeffrey Alan Marks. Not only will it visually tie together your arrangement, but a common thread will allow you to be more playful with your other elements, like framing or matting, without skewing too eclectic.
Many homes—especially older ones—often have puzzling nooks or walls that just need a little something to make them come alive. (Hint: Art is that little something.) The next time you've got a sloped wall that has you stumped, try using it as an opportunity for a uniquely-shaped gallery wall display. Here, designer Phillip Smith leaned into the charm of his 1716 Hudson Valley home with an eccentric display of frames, sketches, and photographs.
If you're the indecisive type that wants to take pictures down almost as quickly as you put them up, a photo ledge could be the perfect solution for you. Instead of committing to a permanent gallery wall display (with real nails and lots of measurements), photo ledges—like this angular display in a home by Laura Hodges—allow you more flexibility to rearrange your photos on a whim.
If your home boasts particularly tall walls, carrying a gallery-style arrangement only halfway up them may look unfinished. Instead, lean into the drama and go floor-to-ceiling with your display, as designer Andrew Brown did here. Sure, you won't be able to have those top pieces in your sightline every day, but the end result will be impactful enough to make it worth it.
Figuring out the right way to display your photos or artwork is as much about listening to your chosen pieces as it is listening to your home. You want to strike a symbiotic balance with all elements—from the framing and matting to the layout—to find the right "look" for your pieces. Here, a bold collection of pieces marries seamlessly with the room's color palette thanks to a streamlined display and simple white framing.
|
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6669
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dbpedia
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3
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https://en.wikipedia.org/wiki/Olly_Alexander
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en
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Olly Alexander
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2010-12-25T01:42:34+00:00
|
en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Olly_Alexander
|
English singer and actor (born 1990)
Not to be confused with Ali Alexander.
Not to be confused with Oliver Thornton.
Oliver Alexander Thornton (born 15 July 1990),[1] known professionally as Olly Alexander, is an English singer, actor and LGBT activist.[2]
He rose to prominence as the lead singer of the pop band Years & Years, who achieved two number-one albums on the UK Albums Chart, a number-one single and five top-ten entries on the UK Singles Chart.[3] Between 2021 and 2023, he continued to release music under the name until their dissolution in 2024.[4]
As an actor, he rose to critical acclaim for his performance as Ritchie Tozer in the Channel 4 drama series It's a Sin (2021), earning Best Actor nominations at the British Academy Television Awards, Critics' Choice Television Awards and Independent Spirit Awards. Alexander represented the United Kingdom in the Eurovision Song Contest 2024 in Malmö, Sweden, with his song "Dizzy", which marked his first release under his own name; in the grand final, he finished in 18th place with 46 points.[5][6]
Early life
[edit]
Oliver Alexander Thornton was born on 15 July 1990 in Harrogate, North Yorkshire.[7][8][9] His mother, Vicki Thornton,[10][non-primary source needed] was one of the founders of the Coleford Music Festival.[11] Alexander attended St John's Primary School in Coleford[12] and Monmouth Comprehensive School. While at Monmouth Comprehensive School, he acted in two school plays: Guys and Dolls, as Benny, and The Caucasian Chalk Circle, as the Corporal.[13] After completing his GCSEs, Alexander studied Performing Arts at the Hereford College of Arts.[14][15] The New York Times reported that he wrote his first song on his father's Casio keyboard aged 10.[16] His parents separated when he was 13, and he and his brother Ben, were thereafter brought up solely by his mother.[17]
He obtained the services of an agent when he was 16, while auditioning for a part in British TV series Skins. In a YouTube video uploaded from NylonMagazineTV, Alexander said he dropped out of the Hereford College of Arts to pursue his acting career as parts were offered, stating: "I started acting when I was young; it just sort of happened. I dropped out of school to work around the world, which was amazing."[18][19] "I really wanted to become a singer or a musician ... All of a sudden I was an actor. It was never something I'd set my heart on being. I'm still trying to work it out ... I really hated school because I was totally bullied. But you're never bullied in drama class because the weird kids do well in drama class. That's a safe place".[20] Alexander was interviewed about his mental health by Guardian columnist Owen Jones.[21][22] He further expanded on his bullying, bulimia and early life experiences during a 2021 interview in the same publication.[23]
Career
[edit]
Acting career
[edit]
Alexander's acting career began in the film Summerhill released in 2008. His next film Bright Star was nominated for an Academy Award in the United States for Best Achievement in Costume Design.[24] He acted in the 2009 released films Tormented starring Alex Pettyfer and Enter the Void. In 2010 he played Evan in the Bush Theatre production of The Aliens.[25][26] Alexander contributed to the script and music[27] for indie film The Dish & the Spoon, released in early 2011. In 2012, he appeared in the theatre production of Mercury Fur, taking the part of Naz at The Old Red Lion, Islington.[28]
From March to June 2013, Alexander starred as Peter Pan in the West End play Peter and Alice acting alongside Ben Whishaw and Judi Dench. Alexander also had a supporting role in the final series of Skins, playing Cassie Ainsworth's stalker in the two-part episode "Skins Pure", which aired in July 2013. Also in 2013 Google Analytics released an internal corporate video which features Alexander as a demanding shopper under the sub-heading "That is what happens when you save on usability".[29]
Alexander plays one of the main characters in the 2014 musical feature film God Help the Girl, where he also sings and plays guitar. The film was written and directed by Stuart Murdoch, the lead singer of the group Belle and Sebastian, as part of the God Help the Girl project.[citation needed]
Alexander also appeared in The Riot Club, the film adaptation of Laura Wade's stage play Posh alongside British actors Sam Claflin, Max Irons and Douglas Booth. Alexander briefly portrayed the vampire Fenton in the British-American horror series Penny Dreadful in episodes aired in 2014.[30]
In the indie film Funny Bunny, which first premiered at SXSW 2015, Alexander plays Titty, a troubled teenager.[31] The film was directed and written by Alison Bagnall, who directed The Dish & the Spoon, while Alexander was a co-writer together with the other two leads.[32] The film was shown at art houses during the summer and was theatrically released on 13 November 2015.[33]
In January 2021, Alexander appeared in a leading role in Russell T Davies' Channel 4 and HBO Max drama It's a Sin, which depicts gay life in the 1980s and early 1990s, and the onset of HIV/AIDS. The show and Alexander's performance earned critical acclaim, with some critics expressing their desire for Alexander to win a BAFTA for his performance.[34] In 2024, Alexander made a cameo appearance as himself in the BBC soap opera, EastEnders, in an episode aired on 2 May.[35]
Music career
[edit]
Years & Years formed in 2010, with Alexander joining the band as lead vocalist after member Mikey Goldsworthy heard him singing in the shower and liked his voice.[36]
Their debut single "I Wish I Knew" was released in July 2012 on the Good Bait label, with the band performing as a five-piece group. In 2013, the group signed a deal to the French label Kitsuné as a three-piece and released their second single, called "Traps", in September 2013, which achieved support from Radio 1 and Radio 6, as well as many online publications such as The Guardian and The Fader.[37][38] "Traps" also features on Kitsuné Maison's 15th compilation.[39]
The band released their second single "Real" on Kitsuné and iTunes in February 2014. The music video featured an appearance from Alexander's Peter and Alice co-star, Ben Whishaw,[40] and former Misfits actor Nathan Stewart-Jarrett.[41] Telling the story in The Independent article of 28 July 2015 of the Ben Whishaw effect (most recent James Bond Q actor), the video received eight and a half million views online, and in 2014 they also changed their record label from the French smaller label Kitsuné to Polydor as they gained prominence. In January 2015, they were announced winners of the BBC's Sound of... vote.[42]
Years & Years' most successful single, "King", released under Polydor, headed straight to number one in the UK Single Chart in March 2015, earning the band national recognition.[43] Their debut studio album, Communion, was released on 10 July 2015 and entered the UK Albums Chart at number 1.[44]
As a gay songwriter,[45][46] Alexander has stated in interviews he would like to see greater use of the qualified male pronoun in music. He explained that when he used to write in a diary, he would refer to "you and I" because he wanted to hide who he was writing about. Several Years & Years songs feature male pronouns.[47] "It is kind of sad to me that we don't have gay popstars singing about men using a male pronoun," he told Digital Spy, "but that could change hopefully."[48] Though his work with Years & Years openly references his sexuality, Alexander "can't speak for all gay people, because there are so many different issues, and experiences, and different shapes and sizes. But I can speak for myself, and that is what I'm doing if I'm going to be writing songs and giving interviews, I want to be able to speak about something I care about."[48] Years & Years' second studio album, titled Palo Santo, was released on 6 July 2018 and features hits like "If You're Over Me" and "Sanctify". On 14 August 2018, "If You're Over Me" was certified Gold by the British Phonographic Industry and announced via the band's Twitter account.
In September 2018, Years & Years released the official music video for "All For You", featuring an angelic version of Alexander dancing within an abandoned warehouse before transforming into a demonic version of himself and engaging in a dance-off with an android.[49]
Alexander collaborated with the Pet Shop Boys on their 2019 single "Dreamland"[50] and later released a cover of "It's a Sin" to coincide with his starring role in the drama series of the same title.[51]
On 18 March 2021, Years & Years became Alexander's solo project.[52][53] In July 2021, Alexander was announced as one of the five musicians hosting BBC Radio 1's Future Sounds show for the month of August and early September alongside Arlo Parks, YUNGBLUD, Charli XCX and Tom Grennan. Annie Mac, who hosted Future Sounds, left the radio station in late July after spending 17 years there.
On 16 December 2023, during the final of the twenty-first series of Strictly Come Dancing, it was announced that Alexander would be representing the United Kingdom in the Eurovision Song Contest 2024.[54] Following the announcement, he told the BBC that he'd "wanted to do it for a while" and it "felt like this was the right time to start releasing music under my name".[55] Years & Years' back catalogue was re-named to "Olly Alexander (Years & Years)" on streaming services.[56][non-primary source needed] His Eurovision competing entry, "Dizzy", was released on 1 March 2024, and marked Alexander's first release under his own name.[5][6] Alexander performed "Dizzy" at the first Eurovision semi-final on 7 May 2024, making the UK the first pre-qualifying country to perform in a semi-final. Alexander came 18th in the contest final on 11 May 2024 scoring 46 jury points (13th) but zero from the public vote (25th).[57]
Advocacy, politics and personal life
[edit]
Through various interviews and charity campaigns, Alexander has promoted safer sex and HIV screening,[58] and supported initiatives against LGBT bullying.[59] He has also spoken openly about his own struggles with depression, self-harm,[60] eating disorders[61] and anxiety from age 13 onwards.[62][63][64] He is gay, and in 2017, he presented a BBC Three documentary investigating the link between being gay and the development of mental health disorders. In it, he opened up about his bulimia. In 2018, Alexander was part of Sport Relief's attempt to raise awareness of mental health alongside other celebrities Nadiya Hussain and Stephen Fry.[65]
Alexander describes himself as a "real left-winger" and said in 2016 that he "had a crush on" Labour Party leader Jeremy Corbyn.[66][67] Beginning in May 2015, Alexander was in a relationship with musician Neil Milan Amin-Smith, who was in Clean Bandit. Due to scheduling conflicts while on tour and recording, they parted at the end of 2015.[68] At the 2016 Glastonbury Festival, Alexander took to the stage with his band Years & Years in rainbow ensemble in celebration of PRIDE Week and made headlines with his spur-of-the-moment speech[69] in light of the Orlando nightclub shooting.
In September 2018, Alexander won GQ's Award "Live Act Of The Year".[70] The award was presented to him by Héloïse Letissier, and in his acceptance speech, Alexander advocated for the LGBT community and Mental Health Awareness Month, particularly in regard to men.[71] In the same month, Alexander took part in a video campaign "The Flag We Shouldn't Be Proud Of" for World Suicide Prevention Day, holding up a rainbow flag with two colours ripped from it, and was quoted: "This is the flag we shouldn't be proud of. A flag that represents the two in six LGBTQ people we risk losing to suicide."[72]
In October 2018, British GQ posted an interview[73] between Alexander and Alastair Campbell in which he spoke about his struggles with self-harm and eating disorders, his experiences in 2018 with homophobia, and his political views on Brexit and Donald Trump. In the interview he said he voted Remain in the 2016 referendum, supported Corbyn as Prime Minister and called Trump "repugnant" and "repulsive".[74] During Years & Years' performance on the Pyramid Stage at the 2019 Glastonbury Festival, Alexander gave a speech promoting LGBT rights and calling for the elimination of racism, ableism and sexism. The speech earned praise from fans and media.[75]
In protest at the ongoing Israel–Hamas war, Alexander signed a letter by LGBT association Voices4London, which accused Israel of committing apartheid and genocide against the Palestinians.[76][77] Spokespeople within the Israeli government and the Campaign Against Antisemitism condemned his views and asked the BBC not to allow him to perform at the Eurovision Song Contest 2024, while the BBC rejected the demands, stating that it was not in a position to do so with someone who is not a journalist.[78] In March 2024, Alexander rejected calls to boycott Eurovision because of Israel's participation.[79]
Achievements
[edit]
In June 2020, in honour of the 50th anniversary of the first LGBT pride parade, Queerty named him among the 50 heroes "leading the nation toward equality, acceptance, and dignity for all people".[80][81] In November 2020, Alexander won the LGBT Celebrity of the Year award at the British LGBT Awards.[82]
For his leading role in It's a Sin, Alexander was nominated for a Critics' Choice Television Award for Best Actor in a Limited Series or Movie Made for Television and the British Academy Television Award for Best Actor.[83][84]
In 2024, he received a gold Blue Peter badge in recognition of his music.[85] That year, he also broke the Guinness World Record for most objects caught whilst spinning on a chair in one minute with a total of 27, which was inspired by his Eurovision entry "Dizzy".[86]
Discography
[edit]
For Olly Alexander's discography as a member of Years & Years, see Years & Years discography.
Compilation albums
[edit]
Title Description Odyssey[87]
Released: 3 May 2024
Label: Polydor
Formats: streaming, digital download
Singles
[edit]
List of singles Title Year Peak chart positions Album UK
[88] LTU
[89] SWE
Heat.
[90] "Dizzy" 2024 42 12 1 Odyssey "Kite"
(with Benjamin Ingrosso) — — — Non-album single "—" denotes a single that did not chart or was not released in that territory.
Filmography
[edit]
Film
[edit]
Year Film Role 2009 Bright Star Tom Keats Tormented Jason Banks Enter the Void Victor Dust Elias 2010 The Fades Himself Gulliver's Travels Prince August The Dish & the Spoon Boy 2012 Cheerful Weather for the Wedding Tom Great Expectations Herbert Pocket 2013 Le Week-End Michael 2014 God Help the Girl James The Riot Club Toby Maitland 2015 Funny Bunny Titty
Television
[edit]
Year Title Role Notes 2008 Summerhill Ned 2009 Lewis Hayden Wishart "Allegory of Love" 2013 Skins Jakob "Skins Pure (Part 1 & 2)" 2014 Penny Dreadful Fenton 2 episodes: "Resurrection" and "Demimonde" 2017 Growing Up Gay Presenter Documentary 2019, 2021 Celebrity Gogglebox Himself 6 episodes 2021 It's a Sin Ritchie Tozer Main role (5 episodes) Ant & Dec's Saturday Night Takeaway Himself Series 17 guest announcer 2022 RuPaul's Drag Race UK Series 4 guest judge 2024 EastEnders Guest appearance (1 episode) Eurovision Song Contest 2024 Contestant
Theatre
[edit]
Year Title Theatre September–October 2010 The Aliens[91] Bush Theatre March–April 2012 Mercury Fur Old Red Lion Theatre March–June 2013 Peter and Alice Noël Coward Theatre
Corporate video
[edit]
Year Film Role 2013 Google Analytics in Real Life Site Search Demanding Shopper
References
[edit]
Olly Alexander discography at Discogs
Olly Alexander at IMDb
|
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6669
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dbpedia
|
0
| 32
|
https://www.biography.com/musicians/louis-armstrong
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en
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Louis Armstrong: Biography, Jazz Musician, “Satchmo”
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2014-04-03T01:00:36+00:00
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Jazz musician Louis Armstrong was known for songs like “What a Wonderful World,” “Hello, Dolly!” and "La Vie En Rose.” Read about his spouses and more facts.
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en
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/_assets/design-tokens/biography/static/images/favicon.3635572.ico
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Biography
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https://www.biography.com/musicians/louis-armstrong
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1901-1971
Who Was Louis Armstrong?
Jazz musician Louis Armstrong, nicknamed “Satchmo” and “Ambassador Satch,” was an internationally famous jazz trumpeter, bandleader, and singer. An all-star virtuoso, the New Orleans native came to prominence in the 1920s and influenced countless musicians with both his daring trumpet style and unique vocals. He is credited with helping to usher in the era of jazz big bands. Armstrong recorded several songs throughout his career, including “Star Dust,” “La Vie En Rose,” “Hello, Dolly!” and “What a Wonderful World.” Ever the entertainer, Armstrong became the first Black American to star in a Hollywood movie with 1936’s Pennies from Heaven. The legendary musician died in 1971 at age 69 after years of contending with heart and kidney problems.
Quick Facts
FULL NAME: Louis Daniel Armstrong
BORN: August 4, 1901
DIED: July 6, 1971
BIRTHPLACE: New Orleans, Louisiana
SPOUSES: Daisy Parker (c. 1918-1923), Lillian Hardin (1924-1938), Alpha Smith (1938-1942), and Lucille Wilson (1942-1971)
CHILDREN: Clarence and Sharon
ASTROLOGICAL SIGN: Leo
When Was Louis Armstrong Born?
Louis Daniel Armstrong was born on August 4, 1901, in a New Orleans neighborhood so poor that it was nicknamed “The Battlefield.”
He had a difficult childhood. His father was a factory worker and abandoned the family soon after Louis’ birth. His mother, who often turned to prostitution, frequently left him with his maternal grandmother.
Armstrong was obligated to leave school in the fifth grade to begin working. A local Jewish family, the Karnofskys, gave young Armstrong a job collecting junk and delivering coal. They also encouraged him to sing and often invited him into their home for meals.
Musical Beginnings
On New Year’s Eve in 1912, when Armstrong was 11 years old, he fired his stepfather’s gun in the air during a celebration and was arrested on the spot. He was then sent to the Colored Waif’s Home for Boys. It proved to be a pivotal time in his life. There, Armstrong received musical instruction on the cornet and fell in love with music. In 1914, the home released him, and he immediately began dreaming of a life making music.
While he still had to work odd jobs selling newspapers and hauling coal to the city’s famed red-light district, Armstrong began earning a reputation as a fine blues player. One of the greatest cornet players in town, Joe “King” Oliver, began acting as a mentor to young Armstrong, showing him pointers on the horn and occasionally using him as a sub.
In 1918, Armstrong replaced Oliver in Kid Ory’s band, then the most popular band in New Orleans. He was soon able to stop working manual labor jobs and began concentrating full-time on his cornet, playing parties, dances, funeral marches, and at local honky-tonks, a name for small bars that typically host musical acts.
Beginning in 1919, Armstrong spent his summers playing on riverboats with a band led by Fate Marable. It was on the riverboat that Armstrong honed his music reading skills and eventually had his first encounters with other jazz legends, including Bix Beiderbecke and Jack Teagarden.
Influencing the Creation of the First Jazz Big Band
Joe “King” Oliver, seated, was a mentor to Louis Armstrong, second from right. They played together in Oliver’s Creole Jazz Band in the early 1920s.
Although Armstrong was content to remain in New Orleans, in the summer of 1922, he received a call from Oliver to come to Chicago and join his Creole Jazz Band on second cornet. Armstrong accepted, and he was soon taking Chicago by storm with both his remarkably fiery playing and the dazzling two-cornet breaks that he shared with Oliver. Armstrong made his first recordings with Oliver on April 5, 1923; that day, he earned his first recorded solo on “Chimes Blues.”
Lillian Hardin, the band’s female pianist whom Armstrong married in 1924, made it clear she felt Oliver was holding Armstrong back. She pushed her husband to cut ties with his mentor and join Fletcher Henderson’s Orchestra, the top African American dance band in New York City at the time.
Armstrong followed her advice, joining Henderson in the fall of 1924. He immediately made his presence felt with a series of solos that introduced the concept of swing music to the band. Armstrong had a great influence on Henderson and his arranger, Don Redman, both of whom began integrating Armstrong’s swinging vocabulary into their arrangements. The changes transformed Henderson’s band into what is generally regarded as the first jazz big band.
However, Armstrong’s southern background didn’t mesh well with the more urban, Northern mentality of Henderson’s other musicians, who sometimes gave Armstrong a hard time over his wardrobe and the way he talked. Henderson also forbade Armstrong from singing, fearing that his rough way of vocalizing would be too coarse for the sophisticated audiences at the Roseland Ballroom. Unhappy, Armstrong left Henderson in 1925 to return to Chicago, where he began playing with his wife’s band at the Dreamland Café.
Louis Armstrong and His Hot Five
While in New York, Armstrong cut dozens of records as a sideman, creating inspirational jazz with other greats, such as Sidney Bechet, and backing numerous blues singers, including Bessie Smith.
Back in Chicago, OKeh Records decided to let Armstrong make his first records with a band under his own name: Louis Armstrong and his Hot Five. From 1925 to 1928, Armstrong made more than 60 records with the Hot Five and, later, the Hot Seven.
Today, these are generally regarded as the most important and influential recordings in jazz history. On the records, Armstrong’s virtuoso brilliance helped transform jazz from an ensemble music to a soloist’s art. His stop-time solos on numbers like “Cornet Chop Suey” and “Potato Head Blues” changed jazz history by featuring daring rhythmic choices, swinging phrasing, and incredible high notes.
Armstrong also began singing on these recordings, popularizing wordless “scat singing” with his hugely popular vocal on 1926’s “Heebie Jeebies.” In 2002, all the tapes were preserved in the National Recording Registry.
The Hot Five and Hot Seven were strictly recording groups, however. Armstrong performed nightly during this period with Erskine Tate’s orchestra at the Vendome Theater, often playing music for silent movies. While performing with Tate in 1926, Armstrong finally switched from the cornet to the trumpet.
Famous Louis Armstrong Songs
Armstrong’s popularity continued to grow in Chicago throughout the 1920s, as he began playing other venues, including the Sunset Café and the Savoy Ballroom. A young pianist from Pittsburgh named Earl Hines assimilated Armstrong’s ideas into his piano playing.
Together, Armstrong and Hines formed a potent team and made some of the greatest recordings in jazz history in 1928, including their virtuoso duet, “Weather Bird,” and “West End Blues.” The latter performance is one of Armstrong’s best known works, opening with a stunning cadenza that features equal helpings of opera and the blues. With its release, “West End Blues” proved to the world that the genre of fun, danceable jazz music was also capable of producing high art.
In the summer of 1929, Armstrong headed to New York, where he had a role in a Broadway production of Connie’s Hot Chocolates, featuring the music of Fats Waller and Andy Razaf. Armstrong was featured nightly on Ain’t Misbehavin’, breaking up the crowds of (mostly white) theatergoers nightly.
That same year, he recorded with small New Orleans–influenced groups, including the Hot Seven, and began recording larger ensembles. Instead of doing strictly jazz numbers, OKeh Records began allowing Armstrong to record popular songs of the day, including “I Can’t Give You Anything But Love,” “Star Dust,” and “Body and Soul.”
Armstrong’s daring vocal transformations of these songs completely changed the concept of popular singing in American popular music, and had lasting effects on many singers who came after him, including Bing Crosby, Billie Holiday, Frank Sinatra, and Ella Fitzgerald.
Armstrong’s 1950 recording of “La Vie En Rose” remains one of his most recognizable vocals. It was notably featured on the soundtrack of the 2008 animated film WALL-E. Other popular songs of his included “Swing That Music,” “Jubilee,” “Struttin’ with Some Barbecue,” and the Grammy-winning “Hello, Dolly!,” his only No. 1 on the Billboard Hot 100. (The chart began in August 1958, well into Armstrong’s career.)
Ella Fitzgerald and Louis Armstrong collaborated on three albums that were released in the late 1950s.
Like his Hot Five and Hot Seven recordings, Armstrong’s 1938 song “When the Saints Go Marching In” and his jazz transformation of Kurt Weill’s “Mack the Knife” from 1956 were enshrined in the National Recording Registry.
Armstrong and Fitzgerald partnered on a collection of duets and made three albums in the second half of the 1950s. The songs include “Makin’ Whoopee,” “Let’s Call the Whole Thing Off,” and “Cheek to Cheek,” originally written for the 1935 film Top Hat starring Fred Astaire. All their duets were released on a four-disc set in 2018 to celebrate Fitzgerald’s 100th birthday.
"What a Wonderful World"
One of Armstrong’s most beloved song is “What a Wonderful World,” which the musician recorded in 1967. Different from most of his recordings of the era, the ballad features no trumpet and places Armstrong’s gravelly voice in the middle of a bed of strings and angelic voices. Armstrong sang his heart out on the number, thinking of his home in New York City’s Queens as he did so.
“What a Wonderful World” received little promotion in the United States. The tune did, however, become a No. 1 hit around the world, including in England and South Africa. Eventually, it became an American classic after it was used in the 1986 Robin Williams film Good Morning, Vietnam.
Satchmo in Movies and Music Career Turbulence
By 1932, Armstrong was known as “Satchmo,” a shortened version of satchel mouth, on account of his large mouth. He had also had begun appearing in movies and made his first tour of England. While he was beloved by musicians, he was too wild for most critics, who gave him some of the most racist and harsh reviews of his career.
Satchmo didn’t let the criticism stop him, however, and he returned an even bigger star when he began a longer tour throughout Europe in 1933. In a strange turn of events, it was during this tour that Armstrong’s career fell apart.
Years of blowing high notes had taken a toll on Armstrong’s lips, and following a fight with his manager Johnny Collins—who already managed to get Armstrong into trouble with the Mafia—he was left stranded overseas by Collins. Armstrong decided to take some time off soon after the incident and spent much of 1934 relaxing in Europe and resting his lip.
When Armstrong returned to Chicago in 1935, he had no band, no engagements, and no recording contract. His lips were still sore, and there were still remnants of his mob troubles. His wife Lillian was also suing Armstrong following the couple’s split.
He turned to Joe Glaser for help. Glaser had mob ties of his own, having been close with Al Capone. But he had loved Armstrong from the time he met him at the Sunset Café, which Glaser had owned and managed. Armstrong put his career in Glaser’s hands and asked him to make his troubles disappear. Glaser did just that. Within a few months, Armstrong had a new big band and was recording for Decca Records.
With his career back on track, Armstrong set a number of African American firsts. In 1936, he became the first Black jazz musician to write an autobiography: . That same year, he became the first African American to get featured billing in a major Hollywood movie with his turn in Pennies from Heaven, starring Bing Crosby. Armstrong continued to appear in major movies with the likes of Mae West, Martha Raye, and Dick Powell.
In 1937, Armstrong became the first Black entertainer to host a nationally sponsored radio show when he took over Rudy Vallee’s Fleischmann’s Yeast Show for 12 weeks. He was a frequent presence on radio and often broke box-office records at the height of what is now known as the Swing Era.
Louis Armstrong and the All Stars
Louis Armstrong, center, plays with his band the All Stars.
By the mid-’40s, the Swing Era was winding down, and the era of big bands was almost over. Seeing the writing on the wall, Armstrong scaled down to a smaller six-piece combo, the All Stars, who he performed live with until the end of his career. Personnel frequently changed. Members of the group, at one time or another, included Jack Teagarden, Earl Hines, Sid Catlett, Barney Bigard, Trummy Young, Edmond Hall, Billy Kyle, and Tyree Glenn, among other jazz legends.
Armstrong continued recording for Decca in the late 1940s and early ’50s, creating a string of popular hits, including “Blueberry Hill,” “That Lucky Old Sun,” “A Kiss to Build a Dream On,” and “I Get Ideas.”
Armstrong signed with Columbia Records in the mid-’50s and soon cut some of the finest albums of his career for producer George Avakian, including Louis Armstrong Plays W.C. Handy and Satch Plays Fats.
Wives
Louis Armstrong with his fourth wife, Lucille Wilson, in 1960
Armstrong wed four times, the first during his teen years. In 1918, he married Daisy Parker, a sex worker. That commenced a stormy union marked by many arguments and acts of violence that ultimately ended in 1923.
During his first marriage, Armstrong adopted a 3-year-old boy named Clarence. The boy’s mother was Armstrong’s cousin who had died in childbirth. Clarence suffered a head injury at a young age and was mentally disabled for the rest of his life.
Armstrong’s second wife was a fellow musician. Shortly after joining the Creole Jazz Band in Chicago, he started dating the female pianist in the group, Lillian Hardin. They married in 1924 but separated seven years later.
During his marriage to Hardin, Armstrong began a relationship with a young dancer named Alpha Smith. In 1938, Armstrong finally divorced Hardin and married Smith, whom he had been dating for more than a decade. Their marriage was not a happy one, however, and they divorced in 1942.
That same year, Armstrong married for the fourth and final time. He wed Lucille Wilson, a Cotton Club dancer. They remained married until his death in 1971.
Alleged Daughter Sharon Preston-Folta
Armstrong’s four marriages never produced any biological children. Because he and his wife Lucille had actively tried for years to no avail, many believe him to be incapable of having children.
However, controversy regarding Armstrong’s fatherhood struck in 1954, when a girlfriend that the musician had dated on the side named Lucille “Sweets” Preston claimed she was pregnant with his child. Preston gave birth to a daughter, Sharon Preston, in 1955.
Shortly thereafter, Armstrong bragged about the child to his manager Joe Glaser in a letter that was later published in the book (1999). Thereafter until his death in 1971, however, Armstrong never publicly addressed whether he was Sharon’s father.
Armstrong’s alleged daughter, who now goes by the name Sharon Preston-Folta, has publicized various letters between her and her father. The letters, dated as far back as 1968, prove that Armstrong had always believed Sharon to be his daughter and that he even paid for her education and home, among several other things, throughout his life. Perhaps most importantly, the letters also detail Armstrong’s fatherly love for Sharon.
In December 2012, Preston-Folta published the memoir , about her relationship and connection with the famous musician.
A DNA test could officially prove whether a blood relationship does exist between Armstrong and Preston-Folta, but if one has been conducted, it hasn’t been publicly shared. However, believers and skeptics can at least agree on one thing: Sharon’s uncanny resemblance to the jazz legend.
Ambassador Satch
When Armstrong’s popularity overseas skyrocketed, it led some to alter his longtime nickname “Satchmo” to “Ambassador Satch.” He performed all over the world in the 1950s and ’60s, including throughout Europe, Africa, and Asia. Legendary CBS newsman Edward R. Murrow followed Armstrong with a camera crew on some of his worldwide excursions, turning the resulting footage into a theatrical documentary, Satchmo the Great, released in 1957.
Although his popularity was hitting new highs in the 1950s, and despite breaking down so many barriers for his race, making him a hero in the Black community, Armstrong began to lose standing with two segments of his audience: modern jazz fans and young African Americans.
Bebop, a new form of jazz, had blossomed in the 1940s. Featuring young geniuses such as Dizzy Gillespie, Charlie Parker, and Miles Davis, the younger generation of musicians saw themselves as artists, not as entertainers. They saw Armstrong’s stage persona and music as old-fashioned and criticized him in the press. Armstrong fought back, but for many young jazz fans, he was regarded as an out-of-date performer with his best days behind him.
The Civil Rights Movement was growing stronger with each passing year, with more protests, marches, and speeches from Black Americans wanting equal rights. To many young jazz listeners at the time, Armstrong’s ever-smiling demeanor seemed like it was from a bygone era. The trumpeter’s refusal to comment on politics for many years only furthered perceptions that he was out of touch.
Support of the Little Rock Nine
Armstrong’s previous silence on racial issues changed in 1957, when the musician saw the Little Rock Central High School integration crisis on television. Arkansas Governor Orval Faubus sent in the National Guard to prevent the Little Rock Nine, a group of nine African American students, from entering the public school.
When Armstrong saw this, as well as white protesters hurling invective at the students, he blew his top to the press, telling a reporter that President Dwight D. Eisenhower had “no guts” for letting Faubus run the country. “The way they are treating my people in the South, the government can go to hell,” Armstrong said.
His words made front-page news around the world. Although he had finally spoken out after years of remaining publicly silent, he received criticism at the time from both Black and white public figures. Not a single jazz musician who had previously criticized him took his side, but today, this is seen as one of the bravest, most definitive moments of Armstrong’s life.
Later Career: “Hello, Dolly!” and More International Tours
Louis Armstrong is seen with Barbra Streisand in the 1969 film version of Hello, Dolly!
Armstrong continued a grueling touring schedule into the late ’50s, and it caught up with him in 1959 when he had a heart attack while traveling in Spoleto, Italy. The musician didn’t let the incident stop him, however. After taking a few weeks off to recover, he was back on the road, performing 300 nights a year into the 1960s.
Armstrong was still a popular attraction around the world in 1963 but hadn’t made a record in two years. That December, he was called into the studio to record the title number for a Broadway show that hadn’t opened yet, Hello, Dolly!
The record “Hello, Dolly!” was released in 1964 and quickly climbed to the top of the Billboard Hot 100, hitting the No. 1 slot in May 1964. The chart-topper even dethroned The Beatles at the height of Beatlemania. It also earned Armstrong his only Grammy Award for Best Male Vocal Performance.
This newfound popularity introduced Armstrong to a new, younger audience, and he continued making both successful records and concert appearances for the rest of the decade, even cracking the Iron Curtain with a tour of Communist countries such as East Berlin and Czechoslovakia in 1965.
By 1968, Armstrong’s grueling lifestyle had finally caught up with him. Heart and kidney problems forced him to stop performing in 1969. That same year, his longtime manager, Joe Glaser, died. Armstrong spent much of that year at home but managed to continue practicing the trumpet daily.
Armstrong restarted his public performances by the summer of 1970. After a successful engagement in Las Vegas, Armstrong began taking engagements around the world once more, including in London; Washington, D.C.; and New York City, where he performed for two weeks at the Waldorf-Astoria.
Two days after the Waldorf gig, Armstrong had a heart attack that sidelined him for two months. He returned home in May 1971, though he soon resumed playing again. He promised to perform in public once more, but it was a promise he couldn’t keep.
When Did Louis Armstrong Die?
Armstrong he died in his sleep on July 6, 1971, at his home in the Queens borough of New York City. He was a month shy of his 70th birthday.
Since his death, Armstrong’s stature has only continued to grow. His Queens home at 34-56 107th Street in Corona, New York was declared a National Historic Landmark in 1977. He and his wife Lucille moved into the home in 1943 after she convinced him to purchase a house. Today, the building is home to the Louis Armstrong House Museum, which annually receives thousands of visitors from all over the world.
In the 1980s and ’90s, younger Black jazz musicians like Wynton Marsalis, Jon Faddis, and Nicholas Payton began speaking about Armstrong’s importance, both as a musician and a human being.
A series of biographies on Armstrong made his role as a civil rights pioneer abundantly clear and, subsequently, argued for an embrace of his entire career’s output, not just the revolutionary recordings from the 1920s.
Louis Armstrong Stadium, part of the Billie Jean King National Tennis Center that annually hosts the U.S. Open in New York City, is named in his honor.
Quotes
The memory of things gone is important to a jazz musician.
If you have to ask what jazz is, you’ll never know.
All music is folk music. I ain’t never heard a horse sing a song.
The colors of the rainbow, so pretty in the sky, are also on the faces of people going by.
The bright blessed day, the dark sacred night. I think to myself, what a wonderful world.
Seems to me it ain’t the world that’s so bad but what we’re doing to it, and all I’m saying is: see what a wonderful world it would be if only we’d give it a chance. Love, baby—love. That’s the secret.
We all do “do re mi,” but you have got to find the other notes yourself.
Making money ain’t nothing exciting to me. You might be able to buy a little better booze than the wino on the corner. But you get sick just like the next cat, and when you die, you’re just as graveyard dead as he is.
What we play is life.
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https://dexter.fandom.com/wiki/Lila_West
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en
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Lila West
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https://static.wikia.nocookie.net/dexter/images/6/63/Lila_hot.jpg/revision/latest?cb=20200616083147
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https://static.wikia.nocookie.net/dexter/images/6/63/Lila_hot.jpg/revision/latest?cb=20200616083147
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Lila West is a character in Season Two of the Showtime series DEXTER. She was a Sponsor for a Narcotics Anonymous Group, who claimed to have overcome her own vice: meth addiction. She worked as a sculptor, often stealing items to use in her abstract (often disturbing) projects. Lila is slender...
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en
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https://static.wikia.nocookie.net/dexter/images/4/4a/Site-favicon.ico/revision/latest?cb=20210809110752
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Dexter Wiki
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https://dexter.fandom.com/wiki/Lila_West
|
Lila West is a character in Season Two of the Showtime series DEXTER.
She was a Sponsor for a Narcotics Anonymous Group, who claimed to have overcome her own vice: meth addiction. She worked as a sculptor, often stealing items to use in her abstract (often disturbing) projects.
Description[]
Lila is slender with black hair and pale skin, in contrast to Rita Bennett’s blonde hair and lightly tanned skin.
Personality[]
Initially, Lila presents as a fun-loving, empathetic person. In fact, she is controlling, eccentric, obsessive, and manipulative, along with having a penchant for setting fires. She frequents support groups to observe the emotions that she is incapable of feeling.
She recognizes Dexter's "mask" and is intrigued by his underlying darkness. However, she thinks that Dexter is a heroin addict and does not learn the truth about him until much later. By then, she is obsessed with Dexter, believing him to be her soulmate.
A romance is sparked between Lila and Dexter, but it ends when she violently responds to betrayal and is not above exploiting others for her needs. Lila's attention-seeking behavior begins to present a danger to Dexter being uncovered as a serial killer. Her diabolical thinking, and unstable, manipulative nature eventually wards off Dexter.
History[]
Lila is from England, possibly London. This is clear from her accent, the threat of deportation from Debra, and her mentioning in "That Night, a Forest Grew" that "Everybody walks in London... of course, they're usually walking to the pub!" Also, the last episode of Season Two is called "The British Invasion".
She first meets Dexter Morgan when he joins an NA group to appease his girlfriend Rita Bennett, who is convinced that Dexter is a heroin addict (which he is not). The meetings and Lila's advice drive Dexter to delve deeper into trying to understand and overcome his dark side. He ends up forsaking for a time a number of things in his life (including Rita).
Meth Addiction[]
While in Naples, FL, Lila tells Dexter the reason why she started to attend Narcotics Anonymous. She was hooked on meth for years, binging and crashing, but finally had it under control. Then she met Marco, a boyfriend who became her dealer. By the time he left her, she was strung out, feeling only rage and that nothing mattered. One night, Lila was so "fucked up," she went to Marco's house and burned it to the ground. Lila claims that she didn’t know Marco was passed out inside. That same night, she went to her first NA meeting. Dexter asks Lila if Marco deserved it. When she answers, "Yes," Dexter tells her that she didn't do anything wrong.
Pyromania[]
Lila is an arsonist who is responsible for at least four fires:
She set fire to her ex-boyfriend's house which killed him. Mentioned in "The Dark Defender".
She set her loft on fire to get sympathy from Dexter, when they were drifting apart. Occurred in "That Night, a Forest Grew".
She caused a Cabin in the Everglades to explode, killing Sergeant Doakes. Occurred in the season finale episode "The British Invasion".
She again set her loft on fire with Astor, Cody, and Dexter inside, in an attempt to kill them all. Occurred in the same episode, "The British Invasion".
Summary[]
"An Inconvenient Lie"
Lila West (under the alias Lila Tournay) is introduced as a recovering meth addict when Dexter is sent to a Narcotics Anonymous meeting by his girlfriend, Rita Bennett. She takes an immediate interest in Dexter and sees through his facade, sensing that he is hiding his true self.
"See-Through"
With Dexter now involved in the drug recovery program, Lila becomes his narcotics sponsor. They begin to spend more time together, much to Rita's chagrin. When she takes him along to steal “art supplies,” he senses there is something off about her. Lila laughs at his attempt to describe himself, and says that he’ll eventually tell her “all his deepest, darkest secrets.” Later, Dexter tells Rita that Lila is a little odd, and she (being somewhat jealous) advises him to work with someone “more manly.”
While at lunch with Lila, Dexter tells her that he doesn’t want to answer any more of her questions and that he’s done with her. As he departs, she glares at him.
Later, to Dexter’s annoyance, Lila shows up outside the police station. She warns him that he’s making a mistake “breaking up” with her, and insists that he still needs her help. He replies that he is who he is, and nothing will change that. When Lila remarks that she doesn’t believe in monsters or evil, Dexter says that he will show her evil, causing Lila’s lip to curl in a smile. Dexter takes her into the field morgue where the BHB investigation's bodies are kept, and is surprised when she's not disgusted by the dismembered bodies. In fact, she even asks to touch one of them. Outside the morgue, when Dexter agrees to keep seeing her, Lila gives him a hug and a kiss.
"The Dark Defender"
By Lila's advice, she and Dexter set out on a road trip to Naples so that he can seek closure with the person who directly killed his mother, Santos Jimenez. When a conversation with Jimenez in The Swamp (tavern) ends in failure, Dexter punches him several times and lays him on a pool table. Dexter loses control and is about to kill Jimenez in vengeance, but he’s calmed down over the phone by Lila, who believes that he’s about to use heroin due to the stress of meeting his mother's murderer. He spends the night with Lila in a hotel (though they don’t have sex). She reveals that she joined NA because she accidentally burned her boyfriend alive while high on meth. This experience brings Dexter and Lila closer together and Dexter is convinced that Lila can help him manage his urges to kill.
"Dex, Lies, and Videotape"
Rita learns of Dexter's secret road trip when Lila mentions in a message on his answering machine that they stayed together at a motel. Rita assumes that Dexter and Lila had sex on their trip, and angrily dumps him. Out of stress and rage over the breakup, Dexter visits Lila's loft to express his anger at her for causing his problems with Rita. He ends up pushing Lila on to the bed and having sex with her.
As he leaves Lila's place, Dexter receives a phone call from Rita who wants to give him a chance to explain what happened on the road trip with Lila. He tells her they didn’t have sex “that night,” and Rita realizes they had sex another time. She's deeply hurt and orders Dexter out of her house, after which he returns to Lila’s loft.
"That Night, a Forest Grew"
While Lila and Dexter are having sex in her loft, she breathlessly gives him advice by comparing sex to painting. Afterward, she laughs when Dexter remarks that he’s always found instruction manuals quite useful. Lila then asks Dexter what he wants, insisting that he must have some dark fantasies and unfulfilled urges. “I’m pretty good at acting on those,” he says cryptically. “Then fuck me like that,” Lila states. Dexter rolls on top of her and they have sex again.
During a romantic dinner with Dexter, Lila lets Dexter know that she is including him in her future. Later, Debra arrives at Dexter's apartment only to find Lila there, nude with dozens of candles burning in Dexter's bedroom. Debra is disgusted and asks Dexter, "Who's the skank? Are you trying to fuck her or set her on fire?"
Dexter and Lila continue to see each other. While out on a walk, they break into someone’s house to have sex.
Lila starts to become more controlling and suspicious of Dexter. When she learns that Dexter is going to Cody's school to listen to his cultural report, Lila feels that Dexter is drifting apart from her. This drives Lila to reveal her hidden insanity when she sets a fire to her own loft to gain his sympathy.
"Morning Comes"
Since her loft caught fire, Lila has been staying with Dexter, which is getting on Debra's nerves. While helping Lila clean up her loft, Dexter takes a closer look around and notices that the fire had multiple points of origin. He suspects that Lila started the fire on purpose.
Despite his attempts to avoid Lila, she invites herself to Dexter's bowling night with his coworkers. Afterward, in the parking lot, Santos Jimenez attacks Dexter with a knife, but flees when Masuka and Batista come running. Dexter lies that it was just a mugger, and goes home with Lila. At her loft, Dexter tells Lila who the man was, and she comforts him as they lie in bed together.
Dexter decides to embrace who he is and drives to Naples to kill Jimenez.
Meanwhile, Lila drops by the station to see Dexter who said he'd be working late. Debra gets pleasure in telling Lila that Dexter lied to her. Angry and upset, Lila breaks into Rita's house, afraid that Dexter might have gotten back together with her. Rita and the kids arrive home to find the door unlocked. They don’t notice Lila leaving the house.
Dexter looks through Jimenez's wallet and finds the bowling alley's address written on a piece of paper. As he deduces that Lila gave Jimenez the location, Dexter gets a call from Rita, telling him about the open door and asking if he was there since he has a key. Realizing that Lila stole his key, Dexter orders Rita to take the kids outside and call the police. Forced to temporarily leave Jimenez's corpse at the cabin, Dexter returns to Miami.
Her actions convince Dexter that Lila is dangerous. He shows up at her apartment to confront her, barely containing his rage. Lila explains that she helped Jimenez find Dexter because she and Dexter are closest in times of crisis. She says she did it to bring Dexter back into her arms, and it worked. Dexter orders Lila to stay away from him and Rita, or she will “see the monster."
"Resistance Is Futile"
In the morning, Rita is surprised to find that Dexter slept outside her house in an effort to protect her. He apologizes to Rita and tells her that Lila was a huge mistake.
Lila, showing no fear, visits the station and goes with several of Dexter’s coworkers out for a drink. Dexter accompanies them to make sure she doesn't say anything about Jimenez. In the bar's bathroom for women, Dexter faces off with Lila, who insists that the two of them belong together because she knows the real Dexter and isn't afraid of him.
"There's Something About Harry"
After learning from Batista that Dexter and Rita are trying to patch things up, Lila purchases Rohypnol pills from a drug dealer. That night, at her loft, Lila enjoys some wine with Batista and easily seduces him, encouraging him to be rough with her. After they have sex, Lila secretly takes the roofies and passes out. Batista calls an ambulance, unaware that Lila is framing him for date rape.
"Left Turn Ahead"
Dexter visits Lila in the hospital but she does not gain Dexter’s sympathy.
After Angel is arrested, an enraged Debra runs a background check with Agent Lundy and discovers that Lila's real surname is West (not Tournay) and that she has been illegally living in the United States on an expired Visa. Debra then confronts Lila and demands that she leave the country or be deported.
Lila fumes while she watches Dexter on his boat with Rita, Astor, and Cody. While they are preoccupied, Lila breaks into Dexter's van, steals his GPS device, and follows the instructions to the Cabin in the Everglades.
"The British Invasion"
Arriving at the cabin, Lila finds Doakes caged inside and learns from him that Dexter is the Bay Harbor Butcher. She decides to protect Dexter and turns on a flame before releasing gas from propane tanks. Doakes, unable to escape, dies when the cabin explodes. Lila returns to her loft and paints a mural of an angry Dexter on a wall.
After Dexter discovers that Lila killed Doakes, he meets with her at the aquarium to thank her for the intervention. She is excited when he offers her a chance to run away with him but, in reality he plans to kill her in a remote location. Unfortunately, Lila discovers Dexter's plan when she opens his bag to find knives and syringes. As revenge, she abducts Astor and Cody. When Dexter finds them in Lila's loft, she locks them all inside and sets it ablaze, telling Dexter that he "could have had it all." With difficulty, Dexter and the kids narrowly escape, and Lila flees Miami. Dexter tracks Lila down to Paris, France, and kills her by stabbing her in the heart, making her death quick and painless. He thanks her at the end for helping him to understand who he is.
Quotes[]
"You are more dangerous than my addiction will ever be. That's saying a lot." -Dexter to Lila (S2E8)
Victims[]
Marco (burned alive)
James Doakes (burned alive in an explosion)
Attempted Victims[]
Dexter Morgan
Cody Bennett
Astor Bennett
Trivia[]
Officially, she is the second main antagonist and the first to be female; she will later be followed by Maria LaGuerta as the second female antagonist.
She is the first central antagonist of the series who does not have a presence in all episodes of the season, with her being absent in the first two episodes of Season Two.
Ultimately, she's revealed to be an antagonist in Season Two, along with Sergeant James Doakes and Frank Lundy.
She's the only lover Dexter has killed, as he spared both Lumen Pierce and Hannah McKay.
She is the first antagonist to kill a main character (James Doakes), while others would follow suit in later seasons.
Related Pages[]
Cabin in the Everglades
Chad (drug dealer)
Dexter's Accomplices
Edie's Diner
Field Morgue
Lila West's Loft Apartment
Lila West's Paris Apartment
Marco
Miami Aquarium
Narcotics Anonymous Meeting Hall
Poolside Cafe
The Swamp (tavern)
Comics[]
Lila is not the only antagonist to travel to another country (in her case, France) to escape the grasp of Dexter and the authorities. The second antagonist with a similar fate was Steve Gonzalez from the comics which follow the novel's continuity. Brandon Weiss also traveled out of the country but, instead of escaping from Dexter, he actually traveled to Cuba in order to prove Dexter is a killer in front of worldwide television. Dexter chased Brandon in Cuba but ultimately failed to kill him there.
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https://www.newyorkcitytheatre.com/theaters/belascotheater/maybe-happy-ending.php
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Maybe Happy Ending
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[
"Maybe Happy Ending",
"Maybe Happy Ending New York",
"NY",
"Maybe Happy Ending Belasco Theater",
"Maybe Happy Ending Belasco Theater New York",
"NY"
] | null |
[] | null |
Starring Darren Criss and Helen J Shen. Maybe Happy Ending at the Belasco Theater, New York, NY. September 18, 2024 - May 25, 2025. Buy tickets online now or find out more with New York City Theater
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New York City Theater
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A Seoul Searching Romance
Starring Darren Criss (Glee) and Helen J Shen (Man of God), this Korean/English musical comedy is taking over the Belasco Theatre this October with its whirlwind romance and musical numbers. Directed by Tony Award winner Michael Arden, best known for his hit show Parade, this will surely be a night to remember!
What Is The Story?
Darren Criss (best known for his role in the teen musical drama Glee') will be playing Oliver' who is enjoying his retirement in Seoul when he meets Claire (played by Helen Shen) which sparks a romance between the two.
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https://thebillieholiday.org/pre-professional-training-program/
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Professional Training Program
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2022-05-17T09:55:16+00:00
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en
|
THE BILLIE HOLIDAY THEATRE
|
https://thebillieholiday.org/pre-professional-training-program/
|
The Billie Supports the Development of the Next Generation of Artists: The Billie Holiday Theatre is a beacon for world-class art rooted in racial justice in the heart of Bed-Stuy: producing, presenting, and commissioning new and classic works and festivals in theater, dance, music, visual arts, and film; providing artistic and institutional residencies; and serving ages 3 to 103 with educational programming.
The YAA Pre-Professional Training Program includes 4 classes per week taught by an esteemed faculty in addition to specialized workshops and annual performance opportunities locally and nationally. The YAA Pre-Professional Training Program is an incubator for students who show the highest potential for a career in dance or in a career that requires discipline and focus. The diverse curriculum will provide building blocks for preparing dancers to audition for college dance programs and conservatories. This intimate curriculum-based program provides a nurturing environment where each student’s discipline technique and artistry can flourish and be nourished.
MISSION
Pre-Professional Dance Training Program (PPTP) is driven by the mission to further the development of the next generation of artists and to provide the student with the highest level of instruction in contemporary modern dance forms, traditional African dance, hip hop and classical ballet.
The faculty and comprehensive curriculum will ensure that students are technically accomplished and fully equipped to apply for university/conservatory institutions and are prepared to audition in the professional dance world. In order to nurture each student’s full potential, the PPTP program will emphasize personal attention and mentoring. Students will learn performance skills, a deep understanding of proper dance technique, professional attitude and artistic expression.
PROGRAM REQUIREMENTS AND INFORMATION
Dancers are required to participate in ALL weekly classes and rehearsals: Wed – Fri 5:30pm – 7pm & Sat 4-6pm
Dancers must remain in good academic standing, maintaining a 3.0 GPA or above.
Dancers will study Ballet, African, Contemporary, Modern Horton and participate in special workshops, including; choreography/composition, musical theater, Afro-beat, Afro Caribbean dance forms, improvisation, body conditioning, yoga, nutrition, floor barre, and dance history.
32 weeks of class instruction
Additional Specialized masterclass (Broadway Dance, Rockettes, Afro Beats, Audition, Jazz, Composition/Choreography, Improvisation)
Winter and Spring Intensives
Summer Institute in Dance, Drama and Drumming
22 year partnership with BAM’s DanceAfrica
300 plus students reached annually
Renowned leadership team and faculty | 12:1 ratio
Performance opportunities for all students
The Billie Holiday Theatre – performance home for Youth Arts Academy
To enroll in the summer intensive follow the link, select your payment option, and complete check out.
Once you have completed your purchase (package/contract) select the enrollments tab and select “enroll now” for the level you want to enroll your child in and follow the prompts.
Once fully enrolled you are all set and we will send out informational emails as we get closer to the intensive
**Make sure you are purchasing and enrolling using your child’s name. If you would like to add additional people to your account select your name at the top right corner > add family
FACULTY
ARCELL CABUAG
Education Director
Arcell Cabuag is a Filipino American native of San Jose, California where he trained with Charlie McGowan, Debbie Wilson, Keith Banks, and Soozi Childers.
READ MORE
In 1995, he moved to New York City and attended the Alvin Ailey School where he was first introduced to Ronald K. Brown and EVIDENCE, A Dance Company. His professional experience prior includes dancing in: Rock the House for Paramount Pictures, The Shoji Tabuchi Show in Branson, MO, the Richard Rodgers Centennial Production of The King and I, the episode Choreographed on Law and Order SVU, and a “Codorinu” commercial with Pilobolus shot and aired in Barcelona.
Arcell enjoys serving the dance community teaching master-classes and setting EVIDENCE repertory to dance institutions including; Boston Conservatory, University of the Arts, Coker College, NYU TISCH, University of Massachusetts, Connecticut College, Marymount Manhattan College, The Alvin Ailey BFA Program, the Jikei School Dance International Program throughout Japan, the Peridance Certificate Program, Dance Attack Studio, the Center of Creative Arts of St. Louis, the New Orleans Ballet Association Summer Intensive, and as the resident teacher and co-director of the National Choreography Institute.
Arcell is currently a professor at Long Island University, (Brooklyn Campus) and a Co-Director of the Bedford Stuyvesant Center For Arts & Culture Youth Arts Academy Pre-Professional Training program/Restoration Dance Youth Ensemble.
Arcell has assisted Brown in setting original works on Philadanco, MUNTU Drum and Dance Company, Ballet Hispanico, the Alvin Ailey American Dance Theater, MalPaso of Havana Cuba, TU Dance Company and was the associate choreographer for the Tony Award winning production of The Gershwins’ Porgy and Bess (Broadway and National tour).
Arcell has performed globally with EVIDENCE since 1997 and was appointed to be the Associate Artistic Director in 2004. Arcell is a proud recipient of the 2004 New York Dance and Performance “BESSIE” Dancer Award.
RONALD K BROWN
Dance
Ronald K. Brown founded Evidence, A Dance Company in 1985. He’s worked with Mary Anthony Dance Theater, Jennifer Muller/The Works and other choreographers and artists.
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Brown has set works on Alvin Ailey American Dance Theater, Ailey II, Cleo Parker Robinson Ensemble, Dayton Contemporary Dance Company, Jennifer Muller/The Works, Jeune Ballet d’Afrique Noire, Ko-Thi Dance Company, Philadanco, Muntu Dance Theater of Chicago and Ballet Hispanico.
He has collaborated with such artists as composer/designer Omotayo Wunmi Olaiya, the late writer Craig G. Harris, director Ernie McClintock’s Jazz Actors Theater, choreographers Patricia Hoffbauer and Rokiya Kone, and composers Robert Een, Oliver Lake, Bernadette Speech, David Simons, and Don Meissner
He choreographed Regina Taylor’s award-winning play, Crowns and won an AUDELCO Award for his work on that production. Brown has won a Fred & Adele Astaire Award for Outstanding Choreography in the Tony winning The Gershwin’s Porgy & Bess, adapted by Suzan Lori Parks, arrangement by Diedre Murray & directed by Diane Paulus.
In addition Brown was named Def Dance Jam Workshop Mentor of the Year in 2000 and has received; John Simon Guggenheim Memorial Fellowship, National Endowment for the Arts Choreographers Fellowship, New York Foundation for the Arts Fellowship, United States Artists Fellowship, and The Ailey Apex Award for teaching. Brown is a member of Stage Directors & Choreographers Society.
KAREN THORNTON
YAA Program Manager
Karen Thornton hails from Brooklyn, New York and proud of it. She studied dance at the Clark Center for Performing Arts, Broadway Dance Center (New York & Japan)..
READ MORE
..Steps, Martha Graham School, Dance Theater of Harlem, Brooklyn College, and a member of the Alvin Ailey 3rd Company. Karen’s television credits include, The New Show, Best Talk in Town, The McCreary Report, Deja View, Liberty Weekend Celebration Closing Ceremonies, The Audelco Awards, The Essence Awards, Here and Now, The Caribbean Music Awards, Kennedy Center Honors (Judith Jamison).
Karen recently started her own company KTD/Ascension Arts to showcase her talents as a dancer, choreographer, and teacher. She has studied under a plethora of teachers, all masters in their craft and art. She is grateful to them all for pouring into her dreams and allowing her to carry on a wondrous legacy of world humanity through dance. Karen was The Artistic director of the Restoration Dance Theatre from 2002 to 2014. She has been the Restoration Dance Africa Director since 2002, Karen is presently the Program Manager for the Youth Arts Academy. Karen thanks her family and friends for their continued support, and as always “To God be the glory”.
COURTNEY COCHRAN
Ballet
Courtney Cochran is a New York City based freelance dancer and choreographer. She trained with Sacramento Ballet and Crockett Deane Ballet (CDB).
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Courtney was selected as an emerging choreographer at the 2008 Regional Dance America Festival. She continued her training with Alonzo King LINES BFA Program under the direction of Martina Hotchkiss, and then Dance Theatre of Harlem’s Professional Training Program under the direction of Robert Garland.
Since moving to New York in 2013, she has choreographed on DTH’s Training Program, and has debuted work for both Brooklyn Ballet’s First Look program and Norte Maar’s CounterPointe. Courtney spent four seasons with Brooklyn Ballet with various roles in The Nutcracker, Les Sylphides, The Four Temperaments and has been a guest artist with Dance Theatre of Harlem, Sierra Nevada Ballet, and The Black Iris Project.
MAMA ANDARA KOUMBA
Sabar Dance
Born as Myrtle Primus, on the small island of Carriacou, Grenada in the Eastern Caribbean Islands, Mama Andara Koumba constantly felt the beat of Africa, synonymous with her own heart.
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It was that heartbeat that propelled her to study with the late Winston Fleary.
TALU GREEN
Drummer
Percussionist and Composer Rasaan ‘Talu’ Green’s performances include ones with Fela! on Broadway, the Brooklyn Nets, Sousatzka the Musical, and MAZE, along with band collaborations with Ms. Patti Labelle, Ms. Lauryn Hill, The Roots, Aloe Blacc, and Estelle.
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Green has performed globally in Africa, North America, Australia & New Zealand, and Europe. He is a resident musician with Chop & Quench and Resura Arkestra, and provides musical arrangements for dance companies and master workshops throughout New York City. He holds a BFA in Music from Long Island University.
FREDDIE MOORE
Horton
Freddie Moore New Jersey native Freddie Moore began his formal dance training at The Ailey School where he attended the Certificate and Scholarship Programs. Moore has danced with Ailey II, Donald Byrd/The Group, and Artistic Director of Footprints Dance Company.
READ MORE
Courtney was selected as an emerging choreographer at the 2008 Regional Dance America Festival. She continued her training with Alonzo King LINES BFA Program under the direction of Martina Hotchkiss, and then Dance Theatre of Harlem’s Professional Training Program under the direction of Robert Garland.
Since moving to New York in 2013, she has choreographed on DTH’s Training Program, and has debuted work for both Brooklyn Ballet’s First Look program and Norte Maar’s CounterPointe. Courtney spent four seasons with Brooklyn Ballet with various roles in The Nutcracker, Les Sylphides, The Four Temperaments and has been a guest artist with Dance Theatre of Harlem, Sierra Nevada Ballet, and The Black Iris Project.
Isaiah K. Harvey
Horton
Isaiah K. Harvey began his early dance training at Innervisions Theater Arts Center in his hometown Queens, New York. After high school, he attended Montclair State University (MSU), where he earned his Bachelors in Fine Arts in Dance in May 2018.
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In addition to MSU, he also trained at the Earl Mosley Institute of the Arts, Dance Theatre of Harlem and at The Ailey School as the recipient of the Bob Fosse Gwen Verdon Scholarship. Harvey has performed Alvin Ailey’s Memorial with the Alvin Ailey American Dance Theater, with singer/actress Andra Day, and danced at the Macy’s Thanksgiving Day Parade. His performance credits include, Earl Mosley Diversity of Dance, Black Iris Project: Vibrant Voices, and was a back up dancer for RuPaul’s Drag Race Season 13 Contestant Olivia Lux. Through out his training and career he has performed works by Ulysses Dove, Camille A. Brown, Ronald K. Brown, Rennie Harris and danced professionally with Deeply Rooted Dance Theater. In addition to dancing professionally, Harvey shares his knowledge of dance through various teaching avenues throughout New York City and as a certified Lester Horton Technique Instructor. Harvey joined EVIDENCE in 2022.
SHAYLA ALAYRE CALDWELL
Hip Hop
A native of New Haven, Connecticut. She began dancing at a very young age with mother, dance teacher and mentor, Shari Caldwell.
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She became heavily influenced by traditional West African dance after being introduced to Guinean culture by Aly Tatchol Camara. She was further introduced to various styles of dance and a plethora of choreographers, performing artists as well as the importance of composition while attending the Educational Center for the Arts and Earl Mosley’s Institute of the Arts in CT.
She was accepted into the B.F.A program at Virginia Commonwealth University and studied briefly before landing a dream position as performing artist in Ronald K. Brown/ Evidence, A Dance Company in 2011. She was honored to be promoted to assistant rehearsal director after six years. It was a pleasure for her to find a balance between concert theater and commercial work as she landed gigs touring and teaching hip hop styles. A few highlights of her dance career include representing the USA at the International Festival of Ballet held in Cali, Colombia, performing at the infamous Joyce Theater, Fire Island, Delacorte Theater in Central Park, The Kennedy Center in Washington D.C. and being featured in the New York Times courtesy of RKB/ Evidence.
She has also taught and assisted dance classes at various theaters, performing art schools and universities as community outreach and fitness awareness. She is currently an adjunct professor at NYU’s Tisch School of the Arts teaching hip hop, modern contemporary fused with traditional West African styles. She has recently returned to Evidence, after a hiatus, as rehearsal director and guest artist.
SHAYLIN WATSON
Ballet
Born in Lanham, MD. Trained at Duke Ellington School of the Arts under Charles Augins & Katherine Smith. Obtained a BFA in Dance with a concentration in Choreography and Performance from UNC Greensboro.
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Shaylin is a recipient of the EVIDENCE dance workshop series Beth Young Scholarship and has also received scholarships to intensives such as American Dance Festival and UNC School of the Arts. She has performed works by choreographers such as Clarice Young, T Lang, Christopher Huggins, Marcus White, and Shen Wei. She had the opportunity to assist setting repertory for EVIDENCE on students at the New Orleans Ballet Association (2021). Shaylin became a company member of EVIDENCE in 2019.
HEALTH AND SAFETY PROTOCOLS
Your health and safety remain our biggest priority as we are deeply committed to maintaining a healthy environment for all students, staff, faculty and parents. We will continue to follow COVID-19 guidelines issued by the Center for Disease Control, New York State, and New York City as circumstances continue to change. It is critical that we do everything we can to use the Restoration studio space safely, prevent the spread of COVID-19, and protect all those who enter and exit the building.
Arrival and Screening
Upon arriving at Restoration, anyone entering the building will be required to undergo the following:
A mask must be worn at all times; face coverings with vents are not permitted.
Complete a COVID-19 symptom screening questionnaire as required by the city of New York which can be completed on your cell phone device.
Submit to contactless temperature checks at entry. If your temperature reads above 100.4 degrees Fahrenheit, this is considered a fever and you will not be allowed to enter the building.
Wipe down cell phone with sanitary wipes before checking in your cell phone.
Use hand sanitizer.
In-Building Protocols
To ensure a safe learning and professional environment, please adhere to the following:
Wash hands often for at least 20 seconds each time.
Remain six feet apart from others.
If using the elevator, limit elevator capacity to no more than two people.
Cleaning Protocols
The Billie Holiday Theater Youth Arts Academy is committed to ensuring the highest standard of cleaning and sanitizing throughout the building, including:
Daily enhanced cleaning and disinfection in accordance with CDC and health official recommendations.
Air purifiers and enhanced ventilation; MERV-13 filters are used to filter out particles for coughs/sneezes, steam, and vapor.
In addition to Restoration cleaning staff daily cleaning, students will be a rotation schedule to dry clean floors and wipe surfaces.
Vaccination Policy
The Billie Holiday Theater Youth Arts Academy requires that all staff, Teaching Artist, accompanist, faculty and students be fully vaccinated before October 13, 2021. If students are not fully vaccinated by October 13, 2021, we will offer the classes on zoom until proof of a completed vaccination card. We will continue to monitor all health and safety information from official sources.
If any student, instructor, staff member, or visitor who exhibits COVID-19 symptoms or receives a positive COVID-19 test: if on site, please isolate and e-mail: ksmith@restorationplaza.org and jbuckner@retorationplaza.org immediately for guidance on proper next steps to take.
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https://en.wikipedia.org/wiki/Oliver_Thornton
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Oliver Thornton
|
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2009-03-19T00:34:48+00:00
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en
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https://en.wikipedia.org/wiki/Oliver_Thornton
|
British actor, singer (b. 1979)
Musical artist
Oliver Rhoe Thornton (born 10 September 1979) is a Welsh stage actor and singer who is best known for his contributions to musical theatre in London's West End.
Life and career
[edit]
Early life
[edit]
Thornton was born on 10 September 1979 in Abergavenny, Monmouthshire, Wales. Whilst at school, he discovered an interest in performing and studied classical ballet from an early age. He gained further acting experience with the Abergavenny Amateur Operatic Society (AAODS), which celebrated its 100th anniversary in 2011.[citation needed]
Training
[edit]
Thornton began performing in South Wales, where he studied classical ballet, before completing a BA Honours degree in Musical Theatre from Mountview Academy of Theatre Arts.
Theatre
[edit]
Thornton's stage credits include:
Mark (Rent) – Duke of York's Theatre[when?]
Raoul, Vicomte de Chagny (The Phantom of the Opera) – Her Majesty's Theatre[when?]
Enjolras (Les Misérables) – Palace Theatre and Queen's Theatre[when?]
Harrison (Chicago) – Adelphi Theatre[when?]
Rusty the Steam Engine (Starlight Express) – UK tour[when?]
CB the Red Caboose (Starlight Express) – Bochum, Germany[when?]
Adam (Felicia) (Priscilla Queen of the Desert) – Palace Theatre[1][when?]
Adam (Children of Eden) Gala Charity Concert – Prince Of Wales Theatre[when?]
Frank N Furter (Richard O’Brien’s Rocky Horror Show) – UK tour[when?]
Aladdin (Aladdin) – New Wimbledon Theatre[when?]
King Arthur (Camelot) – Two River Theater, New Jersey[2][when?]
Avi (Moses Man) – Alice Griffin Jewel Box Theatre, Off-Broadway[when?]
Claude (Hair) – Wells Fargo Pavilion, Sacramento[when?]
Bianca (Taming of the Shrew) – Shakespeare Theater Company, Washington, DC[when?]
Thornton has also sung with theatreland's first supergroup, Teatro (Sony BMG), during their live performances throughout England and Europe.[when?]
Filmography
[edit]
2004 - De-Lovely as a member of chorus
2010 - Godforsaken as Leo
2016 - Blood Prose as Sebastian Arden (short film)
2017 - The Only Living Boy in New York as part of a gay couple
2018 - Madam Secretary, episode "The Magic Rake" as reporter #1
Personal life
[edit]
Thornton is openly gay.[3]
Awards and nominations
[edit]
Year Nominee / work Award Result 2010 Adam (Felicia) in Priscilla Queen of the Desert Whatsonstage.com Theatregoers' Choice Award for "Best Supporting Actor in a Musical" Won BroadwayWorld.com UK Award for "Best Featured Actor in a Musical" Won
References
[edit]
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https://www.davidsoncommunityplayers.org/past-productions
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en
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Production History since 1965 — Davidson Community Players
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One of the longest-running theatres in the region, we have a production history dating back to 1965. From Shakespeare to Dolly Parton, we've done it all!
|
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https://images.squarespace-cdn.com/content/v1/66681d938d162823c273e3ce/bbf6a677-fdf9-4730-acfe-1f6e344e75c6/favicon.ico?format=100w
|
Davidson Community Players
|
https://www.davidsoncommunityplayers.org/past-productions
|
Past Productions: 60 Years of DCP
Recent Productions
Davidson Community Players Productions 1965-2023
2023
Newsies, Jr.
Native Gardens
Charlotte’s Web
Cat on a Hot Tin Roof
Mary Poppins
A Nice Family Gathering
The Explorers Club
Yankee Tavern
Elf, Jr.
2022
Death of a Salesman
Legally Blonde
Murder on the
Orient Express
Noises Off
Pinkalicous
Proof
Prophesy
to the Bones
The Lion, Witch and the Wardrobe
2021
25th Annual Putnam Co Spelling Bee
Every Christmas
Story Ever Told
Exit
Laughing
Love, Loss and
What I Wore
Madagascar
Rounding Third
The 39 Steps
The Guys
2020
Curious Incident of
the Dog in Nighttime
Snow White
A Comedy of Tenors
2019
Aladdin Jr.
Benedictions
Complete Works of
Wm Shakespeare
Jacob Marley’s
Christmas Carol
Jungle Book
Junie B. Jones
Mamma Mia!
Wait Until Dark
2018
Deathtrap
First Date
Monty Python’s Spamalot
Peter Pan
Snow White
Steel Magnolias
The Best Xmas Pageant Ever
The Diary of Anne Frank
The Little Mermaid
2017
A Streetcar
Named Desire
Annie
Boeing Boeing
I Love You, You’re Perfect, Now Change
Mom’s Gift
On Golden Pond
The Lion King
Willy Wonka
Wizard of Oz
2016
Holly and Tinsel
Lilly’s Purple Plastic Purse
Miss Nelson is Missing
Outside the Wire
Over the River and Through the Woods
Shrek, Jr.
Singin’ in the Rain
The Fox on the Fairway
2015
Alice in Wonderland
Chicago
Christmas Belles
Don’t Cry for me Margaret Mitchell
Don’t Dress for Dinner
Ordinary People
Rumpelstiltskin
Thoroughly Modern Millie
2014
42nd Street
Dixie Swim Club
Flyin’ West
It’s A Wonderful Life (radio vers.)
James & the Giant Peach
Seussical
Unnecessary Farce
2013
An Evening with Tenn Williams
Jack and the Beanstalk
Leading Ladies
Miracle on 34th Street (radio vers.)
Narnia
The Pajama Game
Treasure Island
Wit
2012
Adventures of a Bear Called Paddington
Baby
Children of a Lesser God
Crazy for You
Farndale Ave. . . A Christmas Carol
Into the Woods Jr.
Rumors
2011
Love Letters
Masterpiece
Moon Over Buffalo
Ragtime
Retrieving the Lamb
School House Rock, Jr.
Stuart Little
The Guys
2010
A Christmas Story
Almost Maine (Spirit Square)
Charlotte’s Web (CC)
Noises Off
Oklahoma
Once On This Island (First CC youth musical)
Violet
2005-2009
Almost, Maine
2009
Barefoot in the Park
2009
Driving Miss Daisy (Spirit Square)
2009
House at Pooh Corner (Connie Co. Armour Street)
2009
How I Learned to Drive
2009
It’s a Wonderful Life
2009
West Side Story
2009
Lend Me A Tenor
2008
Little Women
2008
Proof
2008
The Spitfire Grill (Spirit Square)
2008
Working (Armour Street)
2008
Beau Jest
2007
Driving Miss Daisy
2007
Hello Dolly
2007
Rounding Third
2007
Aurelia
2006
Carousel
2006
I Hate Hamlet
2006
The Spitfire Grill
2006
Benedictions
by Judy Simpson Cook
2005
Don’t Dress for Dinner
by Marc Camoletti
2005
Talley’s Folly
by Lanford Wilson
2005
The Music Man
by Meredith Wilson
2005
2000-2004
Art by Yasmina Reza
2004
Bye Bye Birdie
2004
The Guys
by Ann Nelson
2004
The Mousetrap
by Agatha Christie
2004
Brighton Beach Memoirs
by Neil Simon
2003
Catfish Moon
by Laddy Sartin
2003
My Fair Lady
by Lerner and Loewe
2003
Crimes of the Heart
by Beth Henley
2002
The Sound of Music
2002
A Funny Thing Happened … Forum
2001
The Nerd
by Larry Shue
2001
Blithe Spirit
by Noel Coward
2000
The Cemetery Club
by Ivan Menchell
2000
1990-1999
A Little Night Music by Stephen Sondheim
1999
David and Lisa
by James Reach
1999
Dial M for Murder
by Frederick Knott
1998
Night of January 16th
by Ayn Rand
1998
Rumors
by Neil Simon
1998
Oliver
by Lionel Bart
1997
To Kill A Mockingbird
by Harper Lee
1997
Bus Stop
by William Inge
1996
Play It Again Sam
by Woody Allen
1996
Taking Stock
by Richard Schotter
1996
Bells Are Ringing
by Jule Styne
1995
Butterfinger Angels
by William Gibson
1995
The Moving of Lilla Barton
1995
The Foreigner
by Larry Shue
1994
The Old Boy
by A.R. Gurney, Jr.
1994
Oklahoma by Rodgers and Hammerstein
1993
The Musical Comedy Murders of 1940
1993
A Man for All Seasons
by Robert Bolt
1992
Mornings at Seven
by Paul Soborne
1992
Social Security
by Andrew Bergman
1991
The Music Man by
Meredith Wilson
1991
Nuptials by
Judy Simpson Cook
1990
Rainmaker by Richard Nash
1990
1980-1989
Mister Roberts by T. Heggen & J Logan
1989
The Miracle Worker
by William Gibson
1989
So Long On Lonely Street
by Sandra Deer
1988
The Best Man by Gore Vidal
1988
Our Town by Thornton Wilder
1987
The Odd Couple
(female version)
1987
Inherit the Wind
by J. & .RE. Lee
1986
Night Watch
by Lucille Fletcher
1986
Close Ties by Elizabeth Diggs
1985
Seascape by Edward Albee
1985
Tea and Sympathy
by Robert Anderson
1984
The Prisoner of Second Avenue by N.
1984
Lunch Hour by Jean Kerr
1983
The Dining Room
by A. R. Gurney, Jr.
1983
Dracula by Deane and Balderston
1982
Harvey by Mary Chase
1982
A Thousand Clowns
by Herb Gardner
1981
Step On A Crack
by Suzan Zeder
1980
The Cherry Orchard
by Anton Chekhov
1980
Who’s Afraid of Virginia Wolf? by E. Albee
1980
1970-1979
Hay Fever by Noel Coward
1979
The Diary of Anne Frank
1979
Major Barbara
by George Bernard Shaw
1978
Plaza Suite by Neil Simon
1978
Death and Life
of Sneaky Fitch
1977
Old Times by Harold Pinter
1977
Night Must Fall
by Emlyn William
1976
The Crucible by Arthur Miller
1976
Arsenic and Old Lace
by Joseph Kesselring
1975
The American Dream
by Edward Albee
1974
The Grass Harp
by Truman Capote
1974
Born Yesterday
by Garson Kanin
1973
The Bald Soprano
by Eugene Ionesco
1973
Our Town by Thornton Wilder
1972
You Can’t Take It With You
by Hart & Kaufman
1971
Murder in the Cathedral
by T. S. Elliot
1970
1965-1969
The Countess Kathleen
by W. B. Yeats
1969
Resurrection by W. B. Yeats
1967
Santa Claus
by E. E. Cummings
1967
For the Time Being
by W. H. Auden
1966
The Bald Soprano
by Eugene Ionesco
1966
The House by the Stable
by Ch. Williams
1966
A Time of Harvest
by Wilmer Welsh
1965
|
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https://en.wikipedia.org/wiki/The_Rocky_Horror_Show
|
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The Rocky Horror Show
|
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1973 musical by Richard O'Brien
This article is about the musical. For other uses, see The Rocky Horror Picture Show (disambiguation).
The Rocky Horror ShowMusicRichard O'BrienLyricsRichard O'BrienBookRichard O'BrienProductions
1973 West End
1974 Los Angeles
1974 Sydney
1974 Copenhagen
1974–76 Madrid (dir. Gil Carretero)
1975 Broadway
1975 Film
1975 Rio de Janeiro (dir. Rubens Corrêa)
1975 Paris
1975 Japanese Tour
1975 Buenos Aires (dir. Gil Carretero)
1975 Melbourne
1976 Toronto
1976 Amsterdam
1976 Japanese Encore Tour
1976 Mexico City
1977 Adelaide
1977 Barcelona
1977–78 Oslo
1978 New Zealand Tour
1978 Wagga Wagga (first Australian regional production)
1978 Brisbane
1978 Belgium
1978 Jericho, New York
1979 UK Tour
1980 Essen (dir. Walter Bockmayer)
1980 US Tour
1980 Germany
1981 Wagga Wagga
1981–82 Australian Tour
1983–84 Belgium Revival
1984 UK Tour
1990 West End Revival
1991 UK Tour
1992 Australian Tour
1994 UK Tour
1994 Buenos Aires
1996 Australian Tour
1996–2000 European Tour
1997 Hong Kong Tour
1997 Barcelona
1998 Sydney Revival
1998 UK Tour
1999 Los Angeles Revival
1999-2007 Poland (dir. Marcel Kochańczyk)
2000 Broadway Revival
2002 UK Tour
2002 St. Louis
2003 Copenhagen Revival
2004 Brisbane Revival
2004 Neighbours Charity Concert, Melbourne
2006 Tribute Concert, London
2006 UK Tour
2008 Sydney Revival
2008–09 Melbourne Revival
2008–09 European Tour
2009 UK Tour
2010 35th Anniversary Benefit Performance, Los Angeles
2010 Glee Tribute Episode
2010 Seoul
2010 New Zealand Tour
2012 Singapore Revival
2013 UK Tour
2014–15 Australian Tour
2014–15 European Tour
2015 40th Anniversary Live Cinema Broadcast
2016 UK Tour
2016 Television Film
2016 Buenos Aires
2016 São Paulo
2017 Buenos Aires
2017–18 Australian Encore Tour
2018 Stratford Festival
2019 UK Tour
2019–20 South Africa Tour
2021–22 UK Tour
2021 Live Cinema Broadcast
2021 Hobart, Australia
2023–24 Australian Tour
2023 West End Revival
2023 Cambridge, Massachusetts
2024 Lido Paris
AwardsEvening Standard Award for Best Musical
The Rocky Horror Show is a musical with music, lyrics and book by Richard O'Brien. A humorous tribute to various B movies associated with the science fiction and horror genres from the 1930s to the early 1960s, the musical tells the story of a newly engaged couple getting caught in a storm and coming to the home of a mad transvestite scientist, Dr Frank-N-Furter, unveiling his new creation, Rocky, a sort of Frankenstein-style monster in the form of an artificially made, fully grown, physically perfect muscle man complete "with blond hair and a tan".
The show was produced and directed by Jim Sharman. The original London production of the musical was premièred at the Royal Court Theatre (Upstairs) on 19 June 1973 (after two previews on 16 and 18 June 1973). It later moved to several other locations in London and closed on 13 September 1980. The show ran for a total of 2,960 performances and won the 1973 Evening Standard Theatre Award for Best Musical. Songs in the musical include "Time Warp" (co-written by O'Brien and Richard Hartley), while the costumes were designed by Sue Blane. Its 1974 debut in the US in Los Angeles had a successful nine-month run, but its 1975 Broadway debut at the Belasco Theatre lasted only three previews and forty-five showings, despite earning one Tony nomination and three Drama Desk nominations. Various international productions have since spanned across six continents as well as West End and Broadway revivals and eight UK tours. In 1991 it was nominated for the Laurence Olivier Award for Best Musical Revival. Actor Tim Curry, who originated the role of Dr. Frank-N-Furter in the original London production, became particularly associated with the musical.
The musical was adapted into the 1975 film The Rocky Horror Picture Show, starring O'Brien as Riff Raff, with Curry also reprising his role; the film has the longest-running release in film history. In 2016, it was adapted into the television film The Rocky Horror Picture Show: Let's Do the Time Warp Again. The musical was ranked eighth in a BBC Radio 2 listener poll of the "Nation's Number One Essential Musicals", and it featured on a commemorative stamp issued by the Royal Mail in 2011.
Beyond its cult status, The Rocky Horror Show is also widely said to have been an influence on countercultural and sexual liberation movements that followed on from the 1960s. It was one of the first popular musicals to depict fluid sexuality during a time of division between generations and a lack of sexual difference acceptance. Like the film adaptation, the musical is noted for a long-running tradition of audience participation through call-back lines and attending dressed up as characters from the show.[1] On the 50th anniversary of the musical in 2023, BBC News states that since debuting in London in 1973 the "production has been performed in 20 different languages" and been "seen by 30 million people globally".[1]
History
[edit]
As an out-of-work actor in London in the early 1970s, Richard O'Brien wrote The Rocky Horror Show to keep himself busy on winter evenings. Since his youth, he had developed a passion for science fiction and B horror movies; he wanted to combine elements of the unintentional humour of B horror movies, portentous dialogue of schlock-horror, Steve Reeves muscle films, and fifties rock and roll into The Rocky Horror Show.[2] A major theme running throughout the musical is transvestism, which according to O'Brien was not originally meant to be as prominent as it ended up being. He conceived and wrote the play set against the backdrop of the glam era that had manifested itself throughout British popular culture in the early 1970s;[3] he has stated "glam rock allowed me to be myself more", allowing his concept to come into being.[4]
O'Brien took a small amount of his unfinished Rocky Horror to Australian director Jim Sharman, who decided he wanted to direct it at the small experimental space Upstairs at the Royal Court Theatre in Sloane Square, Chelsea, London, which was used as a project space for new work.[5] Sharman had received considerable local acclaim as the director of the original Australian productions of Hair and Jesus Christ Superstar. He went to London to direct the first British stage production of Superstar, during which he met O'Brien, who had played King Herod for just one performance. Sharman brought fellow Australians Nell Campbell and long-time scenic designer partner Brian Thomson into the production.
Star Tim Curry recalled his first encounter with the script:
I'd heard about the play because I lived on Paddington Street, off Baker Street, and there was an old gym a few doors away. I saw Richard O'Brien in the street, and he said he'd just been to the gym to see if he could find a muscleman who could sing. I said, "Why do you need him to sing?" [laughs] And he told me that his musical was going to be done, and I should talk to Jim Sharman. He gave me the script, and I thought, "Boy, if this works, it's going to be a smash."[6]
The original creative team was then rounded out by costume designer Sue Blane[7] and musical director Richard Hartley, although Pete Moss would later take over as musical director. Michael White was also brought in to produce Rocky Horror. As the musical went into rehearsal, the working title for it became They Came from Denton High, but it was changed just before previews at the suggestion of Sharman to The Rocky Horror Show.[5][8]
After two previews, the show was premièred—without an interval—at the Royal Court's 63-seat Theatre Upstairs on 19 June 1973, and ran until 20 July 1973.[9][10] The cast included Tim Curry, who had decided that Dr Frank-N-Furter should not just be a queen, he should speak like the Queen of the United Kingdom, extravagantly posh,[4] Patricia Quinn, Nell Campbell (billed as Little Nell), Julie Covington, Christopher Malcolm (who would subsequently be the originator of the revival and tours in the 1990's) and O'Brien, with each performing in an all-out camp style.[11][12][13] It was a creative triumph and a critical and commercial success.[14] A reviewer at the premiere for The Guardian wrote "it achieves the rare feat of being witty and erotic at the same time", and Curry gives a "garishly Bowiesque performance as the ambisextrous doctor."[9] Record producer Jonathan King saw it on the second night and signed the cast to make the original cast recording over a long weekend—The Rocky Horror Show Original London Cast—that was rushed out on his UK Records label.[15][16] King was involved heavily in the initial promotion for the show, as well as being the minority backer of it financially with White having a majority share.[16][17]
The impact at the Royal Court Upstairs allowed the production be transferred to the 230-seat Chelsea Classic Cinema nearby on Kings Road from 14 August 1973 to 20 October 1973.[18] Rocky Horror found a quasi-permanent home at the 500-seat King's Road Theatre—another cinema house, even further down Kings Road—from 3 November 1973. The show received critical praise and won the 1973 Evening Standard Award for Best Musical. When Richard O'Brien played Riff Raff in the original Broadway production of Rocky Horror in 1975 Robert Longden took over the role in London.
The show's run at the King's Road Theatre ended on 31 March 1979; it then transferred to the Comedy Theatre (now the Harold Pinter Theatre) to begin performances on 6 April 1979. At the new venue, Rocky Horror required some restaging, for the Comedy was the first theatre at which the musical had played that possessed a traditional proscenium arch stage. For the first time, the musical was also broken into two acts with an interval. It finished its run there on 13 September 1980.
Synopsis
[edit]
Act I
[edit]
The Usherette, sometimes referred to as "Trixie", who works in a derelict cinema, introduces tonight's "film" in a song ("Science Fiction/Double Feature"), with masked Phantoms providing the backing vocals.
After attending the wedding of his best friend since high school (Ralph Hapschatt, now married to Janet Weiss' friend Betty Munroe), Brad Majors confesses his love to Janet Weiss ("Dammit Janet") and the two become engaged. The Narrator appears and explains that Brad and Janet are leaving Denton to visit Dr. Everett Scott, their former science tutor, while driving into a rainstorm. During the trip, their car has a flat tire and they are forced to walk through the rain to seek a telephone in an old castle ("Over at the Frankenstein Place").
The Narrator explains that Brad and Janet are feeling "apprehensive and uneasy", but must accept any help that they are offered. As Brad and Janet arrive, Riff Raff, the hunchbacked handyman and live-in butler, greets them, and his sister Magenta, the maid, appears. Riff Raff, Magenta and Columbia (a groupie) speak briefly of an unlucky delivery boy named Eddie who fell victim to unfortunate circumstances because he botched a delivery, before performing the show's signature dance number ("Time Warp"). Brad and Janet try to leave at this point, but are stopped when Dr Frank-N-Furter, a pansexual, cross-dressing mad scientist, arrives. He introduces himself as "a sweet transvestite from Transsexual, Transylvania" and invites Brad and Janet up to his laboratory ("Sweet Transvestite"). As he goes up, Brad and Janet are stripped to their underwear to dry off.
Brad and Janet enter the laboratory, where Frank-N-Furter gives them laboratory coats to wear. Frank announces that he has discovered the secret to life itself. He unveils his creation, a blond, well-built man named Rocky, who is brought to life. As his bandages are removed, Rocky worries about his predicament ("The Sword of Damocles"). Frank admires Rocky's physique by singing a tribute to muscle builders ("Charles Atlas Song"/"I Can Make You a Man"). A Coca-Cola freezer in the laboratory opens to reveal Frank and Columbia's former lover, Eddie, a biker covered in surgical scars, who has been rendered a (slightly more) brain-damaged zombie, intent on rescuing Columbia, and escaping the castle while successfully causing large amounts of damage to Frank's laboratory, exhibiting signs of partially returning memory of the way he lived life in the past ("Hot Patootie – Bless My Soul"). Frank panics, forces Eddie back into the freezer and hacks him to death (his weapon of choice typically being a pick axe or chainsaw). Frank tells Rocky — the recipient of the other half of Eddie's brain — that he prefers him over Eddie ("Charles Atlas Song (Reprise)"/"I Can Make You a Man (Reprise)"), as although he and Eddie had a strong mental relationship, he had no muscle, and therefore, had to go. Brad and Janet, somewhat flustered after witnessing the re-murdering of Eddie, are then ushered to separate bedrooms for the night.
Act II
[edit]
The Narrator foreshadows that Brad and Janet may be unsafe. Janet enjoys Brad's advances in her darkened bedroom before realizing that it is Frank in disguise. He convinces Janet that pleasure is no crime, and after she asks him to promise not to tell Brad, they resume their lovemaking. The scene changes to Brad's darkened bedroom, where Brad makes love to Janet before discovering that, once again, it is Frank in disguise. Frank promises not to tell Janet, but as they resume, Riff Raff interrupts on the television monitor with the message that Rocky has escaped. Janet searches for Brad in the laboratory and discovers Rocky hiding there. Checking the television monitor, Janet sees Brad in bed with Frank and seduces Rocky ("Touch-a, Touch-a, Touch-a, Touch Me"). While searching the television monitor for Rocky, the rest of the group discovers that Janet has slept with him and Brad becomes hurt and angry ("Once in a While"). Riff Raff then notifies Frank that there is another visitor entering the castle: Dr. Everett Scott, the paraplegic science tutor whom Brad and Janet intended to visit.
Dr. Scott in a wheelchair is wheeled into the laboratory by Columbia, where Frank accuses him and Brad of trying to investigate his castle, knowing that Dr. Scott has connections with the FBI. Dr Scott assures him that he has come in search of Eddie, who is revealed to be his nephew ("Eddie's Teddy"). Frank displays Eddie's corpse to the group and then uses a device to electronically restrain the three visitors and a rebellious Rocky to the floor ("Planet Schmanet Janet"); the inhabitants of the castle are revealed to be space aliens led by Frank, who abandoned their original mission in order to engage in kinky sex with Earthlings and work on Rocky. Magenta insists that they return to their home planet now that they have been found out; Frank refuses and, instead, declares his intentions to put on a "floor show".
Under Frank's influence, Columbia, Rocky, Brad, and Janet perform song and dance routines while clad in lingerie ("Rose Tint My World (Floor Show)"). After, Frank entices them to lose all inhibition and give in to their natural carnal instincts, resulting in everyone beginning to engage in orgiastic sex ("Don't Dream It – Be It") before Frank leads them into the rousing concluding number of the floor show ("Wild and Untamed Thing"). The show comes to an abrupt end when Riff Raff and Magenta enter, wearing spacesuits and carrying ray guns. Riff Raff declares that he is usurping Frank's authority and taking them all back to their home planet ("Transit Beam"). Frank makes a final plea for sympathy from Riff Raff, trying to make him understand his desire to spend the rest of his life having sex with Earthlings ("I'm Going Home"). Riff Raff is unmoved and guns down Columbia, Frank, and Rocky before ordering Brad, Janet, and Dr. Scott to leave.
As the trio evacuates the castle, Riff Raff and Magenta express their excitement to return to their world and do the "Time Warp" again with their fellow Transylvanians ("Spaceship"). Brad and Janet watch as the castle blasts off into outer space, confused about the implications of their sexual escapades ("Super Heroes"). To conclude his tale, the Narrator says "and crawling on the planet's face, insects called the human race, lost in time, and lost in space – and meaning." As the show ends, The Usherette returns to recount the night's events ("Science Fiction/Double Feature (Reprise)").
In the original London and Los Angeles productions, "Sweet Transvestite" came before "Time Warp". This was changed for the film version and was subsequently updated for the stage version when O'Brien revised the script for the 1990 West End revival.
"Charles Atlas Song" was replaced by a reworked version of the song, "I Can Make You a Man", for the film version. O'Brien's revision of the script in 1990 featured a hybrid of the two songs under the title "I Can Make You a Man", in the 1999 revised script this song was replaced by the film version, which continues to be used in all major productions. The reprise remains unchanged except for the title.
Other productions
[edit]
Original Los Angeles production (American premiere)
[edit]
Lou Adler had made millions with risky ventures such as Monterey Pop. His record label, Ode Records, was becoming known for harvesting experimental talent.[19] In the late winter of 1973, Adler was in London and attended a performance of the show with Britt Ekland. Acting on impulse and seeing a hit, he met backstage with producers and within 36 hours had secured the American theatrical rights.[20]
The show premiered at the Roxy Theatre in Los Angeles on 24 March 1974, running for nine months.[21] The cast was all new except for Tim Curry.[22] The rest of the cast consisted of Abigail Haness as Janet, Bill Miller as Brad, Bruce Scott as Riff-Raff, Jamie Donnelly as Magenta/Trixie, Boni Enten as Columbia, Meat Loaf as Eddie/Dr. Scott, Kim Milford as Rocky Horror, and Graham Jarvis as the Narrator. Paul Jabara played Dr. Frank-N-Furter when Curry left to film the movie.
The show played to a full house and a deal was made with 20th Century Fox for a film.[23] Fox executive Gordon Stulberg saw the show at the Roxy and agreed to invest $1 million in the film project.[24] Adler's attempt to turn his club into a playhouse was successful. Meat Loaf remembered different celebrities who would come to the show, resulting in him meeting Elvis Presley at a performance.[20]
Original Sydney production (Australian premiere)
[edit]
Harry M. Miller produced the original Sydney production of Rocky Horror, which opened on 19 April 1974 at the New Arts Cinema (formerly The Astor, later The Valhalla and now an office building) in Glebe. It starred Reg Livermore as Frank-N-Furter, Jane Harders as Janet Weiss, Kate Fitzpatrick as Usherette and Magenta, Arthur Dignam as Narrator, Sal Sharah as Riff-Raff, John Paramor as Brad Majors, Graham Matters as Rocky, Maureen Elkner as Columbia, David Cameron as Eddie and Dr. Scott with Bob Hudson and Piero Von Arnam and Julie McGregor.
Original Melbourne/Adelaide production
[edit]
After eighteen-month run in Sydney, Harry M. Miller's production moved to Melbourne, with Max Phipps taking over the star role. It opened at the Regent Palace Theatre on 24 October 1975 and ran through 19 months and 458 performances, finally closing on 28 May 1977.[25]
The Melbourne production included Max Phipps - Frank-N-Furter; Gregory Apps - Brad (later Stephen Clark); Paula Maxwell - Janet (later Shirley-Anne Kear, Diana Greentree); Tommy Dysart - narrator; Sal Sharah - Riff-Raff; Robyn Moase - Magenta (later Joan Brockenshire); Sue Smithers - Columbia (later Shirley-Anne Kear, Joan Millar); Graham Matters - Rocky (later Grant Whiteman, Clive Blackie); Terry Bader - Eddie/Dr Scott (later David Cameron, William Gluth).[26] When Paula Maxwell left, resident stage director, Roland Rocchiccioli, moved Kear (at her request) into the role of Janet, and Joan Miller, who was an understudy, took over from Kear as Columbia. It was in Melbourne, during the Sword of Damocles number, that Grant Whiteman fell while swinging on ladder and being pursued by Max Phipps. Fortunately, there was a Doctor in the house. Without missing a beat, Rocchiccioli told Clive Blackie to get into the costume: "This is your big chance. You're on!" he said. The show picked up from where Whiteman had fallen and went-on without further hitch. Soon after that Whiteman left, and, to Blackie's surprise, Rocchiccioli put him into the role - without hesitation. He said to him: "You're the understudy. Of course you take over. That's what you're here for!" He proved a very popular Rocky. What he lacked in height he made-up for in muscle. The show then transferred to Adelaide, where it opened on 12 August 1977 at The Warner Theatre. Max Phipps, Diana Greentree, Joan Millar, Tommy Dysart and Joan Brockenshire went on to reprise their roles from the Melbourne production. Staged by Roland Rocchiccioli, the Adelaide production – which was a transfer of Jim Sharman's original Sydney and Melbourne productions, and adapted for the new theatre, was not a success, and closed after only two months. As Rocchiccioli said on ABC Television in Adelaide, talking with Clive Hale: "It is the same Jim Sharman production as Melbourne. It is Brian Thomson's design, except the set has been altered slightly because this is not a television theatre in the last days of its existence!" Rocchiccioli later said he was astonished that it did not work in Adelaide after playing in Melbourne for the two years previous. Some weeks the company did ten performances, so great was the demand for tickets. It would have gone on running - possibly for another year - if Max Phipps had not decided to leave. He was exhausted. In the final months Harry M. Miller was selling standing-room at the back of the theatre for up to 50-patrons per performance.
After several weeks in Adelaide, Jon Finlayson replaced Max Phipps as Frank-N-Furter. Max had come-in to the production at the last moment, after Darrell Hilton and Rocchiccioli agreed on a parting of the ways, just days before the opening night. Other cast members included Tony Preece as Brad; Keith Reid (who was the Melbourne understudy) as Riff-Raff; Bill Binks as Eddie/Dr. Scott; and Shane Bourne as Rocky. The Adelaide reviews were savage, and killed the production. Everyone was taken by surprise, including Max Phipps, who was brilliant in the role. Rocchiccioli said at the time: "It's baffling. Nothing has changed from Melbourne, and it's difficult to know why they hate it so much". It is the only time the Rocky Horror Show has not been critically applauded in Australia.[26][27] The show closed after two months, after running from 12 August to October 1977.[28]
Original New York City (Broadway) production
[edit]
In early 1975, Adler closed the show at the Roxy Theatre after a ten-month run. This gave actors time to return to the UK for the film version's shooting. Adler planned to open on Broadway just before the film's release. It was anticipated that this production would be as successful as Jesus Christ Superstar and serve as a public vehicle for the film version.[29] It was unsuccessful and closed after 45 performances.[30] The cast was identical to that of the Roxy cast but with O'Brien in place of Scott as Riff-Raff.
Original San Francisco production
[edit]
The third U.S. production opened at the Montgomery Playhouse[31] in San Francisco on 3 February 1976[32][33][34] and played 103 performances, closing on 30 May.[35] The San Francisco production was directed by A. Michael Amarino,[33] with musical direction and arrangements by Michael Reno.[33][36] The production had a new cast and starred David James as Frank.[36][33] The opening night cast included Roslyn Roseman as Trixie/Usherette/Magenta, Needa Greene as Janet, Robert Reynolds as Brad, Richard Gee as the Narrator, Buddy King as Riff Raff, Paula Desmond as Columbia, Bob Dulaney as Rocky, and Emil Borelli as Eddie/Dr Scott, with back-up vocals by Vikki D'Orazi, William J. Tacke, and Kelly St. John.[32][33]
Second London (West End) production
[edit]
The Rocky Horror Show transferred to the 820-seat Comedy Theatre on Panton Street in the West End, running from 6 April 1979 until 13 September 1980, closing the play's initial run of 2,960 performances. After occasional productions in the early 1980s, the play was revived for the Theatre Royal, Hanley tour in 1984 and still is performed regularly in the UK.[37]
The Haymarket Production, Leicester
[edit]
On Wednesday 8 August 1979 The Haymarket Production of The Rocky Horror Show, presented in association with Cameron Mackintosh and Michael White, began a month-long run at the Leicester Haymarket Theatre.[38] After its Haymarket run followed a major national tour to Wolverhampton, Norwich, Leeds, Bristol, Newcastle, Birmingham, Brighton, York, Lincoln, Southsea, Oxford, and ending at Cork, Ireland in December 1979.[39]
The lead part of Frank-N-Furter was played by Daniel Abineri. Others in the cast included Claire Lewis as Magenta/Usherette, Amanda Redman as Janet Weiss, Terence Hillyer as Brad Majors, Nicholas Courtney as Narrator, Brett Forrest as Riff Raff, Dee Robillard as Columbia, Gary Martin as Rocky, Trevor Byfield as Eddie/Dr. Scott, Nicola Blackman, Martyn Boydon, Michael Kirk and Sarah Payne.[40]
Music
[edit]
National and international productions
[edit]
UK productions
[edit]
The Rocky Horror Show has toured the United Kingdom regularly since the 1990–91 West End revival at the Piccadilly Theatre in productions produced by Christopher Malcolm's , Richard O'Brien's and Howard Panter's Rocky Horror Company. Notable celebrities have been cast including Daniel Abineri, Peter Blake, Tim McInnerny, Anthony Head, Robin Cousins, Jason Donovan and Jonathan Wilkes as Frank-N-Furter, Gina Bellman as Janet Weiss, Edward Tudor-Pole as Riff Raff and TV's Craig Ferguson and Adrian Edmondson as Brad Majors, Kate O’Sullivan as Magenta/Usherette.
Throughout the 90's and into the 00's it evolved and emerged as the behemoth touring show that it is thanks to the dedication of Christopher Malcolm who also directed several productions in the UK, Germany, South Africa and Buenos Aires amongst others.
Richard O'Brien's Rocky Horror Show completed its 2006–2007 tour on 14 July 2007 in Woking, Surrey after touring for almost eighteen months. The tour was directed by Christopher Luscombe and featured David Bedella as Frank. The 2006 tour cast, accompanied by Roger Lloyd-Pack as the Narrator and author O'Brien, performed "The Time Warp" live in Trafalgar Square on 22 July 2006 as part of The Big Dance event and was broadcast on BBC1's Dancing in the Street. In 2008 David Bedella released his first album The Dean St. Sessions, produced by Nathan Amzi, which included a duet with O'Brien singing "I'm Going Home" as a bonus video.
In March 2009, the show returned with a new UK tour starting in the autumn. With Christopher Luscombe returning as the director, the tour was a revival of the 2006–2007 production with some adjustments to the direction, lighting, choreography, costumes and musical arrangements. The tour opened on 17 September 2009 at the New Wimbledon Theatre and closed on 4 December 2010 at the newly opened Aylesbury Waterside Theatre.
The first leg of the tour ran from September 2009 to July 2010 with a short break over the Christmas period. David Bedella reprised his role as Frank. The second leg of the tour began on 1 September 2010 at the New Victoria Theatre, Woking with several changes to the cast. During the UK tour's summer break director Christopher Luscombe and the show's creative team recreated the UK production in Seoul, South Korea with a new cast of American, Australian and New Zealander actors and local celebrities as the Narrator. The production played from August until October 2010 before a five-week New Zealand tour in November and December with Richard O'Brien making a rare appearance as the Narrator.
2006 Charity concert
[edit]
On 3 May 2006, a benefit concert version of the musical to raise money for Amnesty International.[41][42] Entitled The Rocky Horror Tribute Show, it was staged at the Royal Court Theatre (where the show had its world premiere in 1973) as a one night only event hosted by Richard O'Brien. The cast featured Anthony Head and Michael Ball sharing the role of Frank-N-Furter, Ade Edmondson and Stephen Gately sharing the role of Brad, Joanne Farrell and Sophie Lawrence sharing the role of Janet, Kraig Thornber as Riff Raff, Toyah Willcox as Magenta, Amy Rosefield as Columbia, Gary Amers as Rocky Horror, Ben Richards as Eddie, Julian Littman as Dr. Scott, and original cast member Patricia Quinn as The Usherette.[43] Christopher Biggins, Rayner Bourton, Robin Cousins, Steve Pemberton, Tony Slattery, Jamie Theakston and O'Brien served as the show's narrators, introducing each musical number.[42] The concert also featured guest appearances from the original Columbia Nell Campbell, and Kimi Wong, O'Brien's first wife and cast member from the 1975 film adaptation of the musical.
The concert was later released on DVD by Kultur International Films in October 2008.[42]
2012–13 UK tour
[edit]
In December 2012, a new production of The Rocky Horror Show began a year-long UK tour to celebrate the show's 40th anniversary.[44]
Christopher Luscombe has returned to direct the production, which stars Oliver Thornton as Frank-N-Furter, Ben Forster (winner of ITV1 series Superstar) as Brad Majors until February 2013, Roxanne Pallett (of Emmerdale) as Janet Weiss until May 2013 and Rhydian Roberts (of The X Factor) as Rocky until March 2013. Unlike recent productions, the tour will not feature interchanging guest Narrators with Philip Franks taking on the role.
The show also features Kristian Lavercombe returning to the role of Riff Raff, Abigail Jaye as Magenta/Usherette, Ceris Hine reprising the role of Columbia, Joel Montague as Eddie/Dr Scott, and Maria Coyne, Christos Dante, David Gale, and Rachel Grundy as the Phantoms, with Andrew Ahern as the swing.
Live broadcast/2015–16 UK tour
[edit]
Main article: Rocky Horror Show Live
In 2015, the tour was staged at the London Playhouse Theatre and also broadcast in many cinemas across Europe, as well as on the BBC in October 2015, with Richard O'Brien taking the role as Narrator for the London dates only. On opening night, he received seven standing ovations when appearing on-stage. Tickets for the first week sold out in 72 hours so a second week was added.[45] A charity gala night on 17 September at the Playhouse featured actors Stephen Fry, Anthony Head, Mel Giedroyc, Adrian Edmondson and former Spice Girl Emma Bunton sharing the role of Narrator.[45] A UK-wide tour followed the London production.[45]
Australian productions
[edit]
Riverina Trucking Company Production
[edit]
In 1978, The Rocky Horror Show received its first regional production of Australia. Under the direction of Terry O'Connell and Les Winspear, the production was staged by the Riverina Trucking Company (RTC) in the city of Wagga Wagga, where it played for a three-week run. The cast featured Terry O'Connell as Frank-N-Furter, Bob Baines as Narrator, Kim Hillas as Usherette, Lynne Erskine as Janet Weiss, Toby Prentice as Brad Majors, Myles O'Meara as Riff Raff, Janette Crowe as Magenta, Elaine Mangan as Columbia, Les Winspear as Rocky Horror, and Ken Moffat as Eddie/Dr. Scott.[46]
In 1981, director Peter Barclay's new interpretation of RTC production, marked by a fusion of directorial integrity and razzle-dazzle of colour and movement, opened on 22 July 1981 at Civic Theatre, Wagga Wagga. The cast included Terry O'Connell as Frank-N-Furter (reprising his role from the 1978 production), Annie Stanford as Janet, Paul Minifie as The Narrator, Bob Baines (another former member of the 1978 production) as Riff Raff, and Wayne Pygram as Rocky Horror.[47]
1981-1982 Tour
[edit]
Wilton Morley's new production of The Rocky Horror Show opened 6 October 1981 at the Theatre Royal, Sydney. The Sydney revival show toured successfully to Melbourne, Rockhampton, Townsville, Mount Isa, Canberra, Newcastle, Brisbane, Hobart, Launceston, Perth and Adelaide.[48][49] David Toguri (who had previously done the choreography for the 1975 film adaptation of the musical) directed and choreographed the revival show.[26]
The cast featured Daniel Abineri as Frank-N-Furter, who had previously played the role in the first UK tour in 1979 and for a year in London's West End Comedy Theatre in 1980, Antoinette Byron as Janet Weiss, David Frezza as Brad Majors, Perry Bedden (a cast member of the original 1975 film) as Riff Raff, Kerry Myers as Magenta/Usherette, Gina Mendoza as Columbia, Steve J. Spears as Eddie/Dr. Scott (later replaced by Ignatius Jones after the Sydney season), and Jay Hackett as Rocky Horror.[50] During the tour, the role of The Narrator was shared between three different actors: Stuart Wagstaff, Ian "Molly" Meldrum (for 3 weeks in February during the Melbourne season)[51] and Noel Ferrier (during the Adelaide season).[48]
1984 Tour
[edit]
In 1984 Wilton Morley revived the show to celebrate the tenth anniversary of the original Australian production and also marks Daniel Abineri's second Australian outing as Frank-N-Further and his directorial debut. Although Abineri did play the role for the majority of the run, at the beginning of the tour Garry Scale took the lead.[52] Later, at the Rialto Theatre in Brisbane, set designer Geoff Bieleseld [53] used different stage levels to give the impression of space, which was an adaptation based on original designs by Brian Thomson. In Brisbane and Sydney Reg Livermore, the show's original Frank-N-Furter, was cast in the same role.[54]
The cast featured Anne Looby as Janet Weiss, David Garrett as Brad Majors (later Graeme McKeachie during the Brisbane/Sydney seasons), David Wheeler as Riff Raff, Suzanne Dudley as Magenta/Usherette (later Nataly Mosco during the Brisbane/Sydney seasons), Jill Watt as Columbia (later Cassandra Webb, Gina Mendoza), Wayne Pygram as Eddie/Dr. Scott, Ray Coughlin as Rocky Horror, and Stuart Wagstaff as Narrator (early in the tour David Clendinning).[52][55]
1985 Rural Tour
[edit]
Peter Batey directed the new all-star revival-production, which starred Joe Daniels in the central role of Frank-N-Furter. The show was mounted for limited engagements from August till November 1985 in Townsville, Cairns, Mount Isa, Mackay, Gladstone, Rockhampton, Tweed Heads, Newcastle, Burnie, Launceston, Hobart, Canberra, Wagga Wagga, Albury, Wangaratta, Shepparton, Warragul, and Ballarat.[56][48]
The production boasted a cast of popular music and television stars, such as Somebody's Image vocalist Russell Morris as Riff Raff, soap stars Maria Mercedes as Magenta, Ken James as Brad and Victoria Nicolls as Janet, singer-songwriter Glenn Shorrock as Eddie/Dr. Scott, Margaret Coyne as Columbia and Matthew Watters as Rocky.[57]
1986–1988 Australasia Tour
[edit]
Morley's production was re-launched yet again in 1986, with Daniel Abineri both as director and in the lead role of Frank-N-Furter. This time the tour commenced in New Zealand, where its cast included local actors Andrew Binns as Brad, Ann Wilson as Janet, Andrea Cunningham as Magenta/Usherette, Rachel King as Columbia and Russell Crowe as Eddie/Dr. Scott. For a brief stint, former New Zealand Prime Minister Robert Muldoon appeared as the Narrator.
The following year, the production transferred to the Princess Theatre (and later the Comedy Theatre) in Melbourne, Australia for an eight-month run, and toured Australia for several years visiting Sydney, Perth, Tweed Heads, Brisbane (where it was staged as part of the World Expo 88), Parramatta, Newcastle and Canberra.
The cast featured Daniel Abineri as Frank-N-Furter, Megan Shapcott as Janet Weiss, Simon Westaway as Brad Majors, David Wheeler as Riff Raff, Lyn Shakespeare as Magenta/Usherette, Michelle Argue as Columbia (later Gina Mendoza), Steve Bastoni as Rocky Horror, and The Narrator variously was played by Gordon Chater, Stuart Wagstaff and others.[58]
By the time the tour reached Brisbane, Daniel Abineri had retired as director and star and – based on Abineri's original production, Wilton Morley took over duties, with Simon Westaway (who had played previously Brad in the Australian tour) as Frank-N-Furter. Other cast changes included: Ann Wilson and Andrew Binns as Janet and Brad (reprising their roles from the New Zealand tour), Bob Baines (and later Greg Parke) as Riff Raff, Luz Yeomans as Magenta/Usherette, Walter Grkovic as Eddie /Dr. Scott, Anthony Russell as Rocky Horror, and Bernard King as Narrator.[59]
The production ended with a second New Zealand tour, which was directed by Terry O'Connell (late of the Riverina Trucking Company productions) with Simon Westaway as Frank-N-Furter. The rest of the cast mainly comprised New Zealand talent, including actor/director John Banas and comedian Billy T. James alternating as the Narrator. The tour visited Wellington, Auckland, Palmerston North, Christchurch, Dunedin and officially came to an end in December 1988.
It has been noted for being the last production based on the original show's script and set design, before readaptation for the 1990 UK West End revival.
1992 Tour
[edit]
In 1992, a revival production was launched by producer Paul Dainty under the title The New Rocky Horror Show. Directed and designed by Nigel Triffitt, it toured Australia, boasting a troupe of well-known Australian soap stars and comedians. Tour commenced Melbourne Comedy Theatre 2 July 1992 and the cast featured Craig McLachlan as Frank-N-Furter (later Marcus Graham), Gina Riley as Janet Weiss (later Ally Fowler), Stephen Kearney as Brad Majors (later Glenn Butcher), Linda Nagle as Magenta/ Usherette, Peter Rowsthorn as Riff Raff, Alyssa-Jane Cook as Columbia, Wilbur Wilde as Eddie/Dr. Scott (later Frankie J Holden), Christopher Kirby as Rocky Horror, and Red Symons as The Narrator.[60][61]
1996 Tour
[edit]
Nigel Triffitt's interpretation of the musical was revived in 1996 for a new national tour. The tour commenced in February at the Lyric Theatre in Brisbane,[62] with Marcus Graham, Glenn Butcher, Peter Rowsthorn, Wilbur Wilde, and Red Symons reprising their roles from the 1992 tour. The new cast members featured Kym Wilson as Janet Weiss, Lucy Briant as Magenta, Jo Beth Taylor in the double role as Columbia and Usherette, and Ron Reeve as Rocky Horror.
During the Perth season of the tour, Neighbours star Jason Donovan took over from Marcus Graham as Frank-N-Further.
When production completed its tour in Adelaide, the final cast featured Boom Crash Opera vocalist Dale Ryder as Frank-N-Furter, Jane Turner as Janet Weiss, Peter Rowsthorn (who started the tour in the role of Riff Raff) as Brad Majors, Richard Piper as Riff Raff, Lucy Briant as Magenta/Usherette, Annie Jones as Columbia/Usherette, George Kapiniaris as Eddie/Dr. Scott, Ron Reeve as Rocky Horror, singer Kamahl as Narrator.[63]
The following year, in 1997, the production was revived for a tour of Hong Kong, featuring Dale Ryder as Frank-N-Furter, Lucy Briant as Janet, Geoff Paine as Brad, George Kapiniaris as Riff Raff, Jenny Vuletic as Magenta//Usherette, Hali Gordon as Columbia, Michael- John Hurney as Eddie/Dr. Scott Ron Reeve as Rocky and Harry Wong as Narrator.[64]
1998 Sydney Revival
[edit]
In July 1998, Nigel Triffitt re-mounted his interpretation of The New Rocky Horror Show at Sydney's Star City Casino, to celebrate the musical's 25th anniversary. The cast featured Tim Ferguson as Frank-N-Furter, Tottie Goldsmith as Janet Weiss, Dee Smart as Columbia/Usherette, and Jennifer Vuletic as Magenta/Usherette, while Glenn Butcher, Peter Rowsthorn, Wilbur Wilde, Ron Reeve and Red Symons (who all appeared in the original 1992 and 1996 tours of Triffitt's production) reprised their roles as Brad, Riff Raff, Eddie/Dr. Scott, Rocky and Narrator.[65]
2004 Brisbane Revival
[edit]
From 2 November to 28 November 2004, a revival of The Rocky Horror Show was staged at the Twelfth Night Theatre in Brisbane, under the direction of Tony Alcock, and produced by the On the Boards Theatre Company. The cast featured Stefan Cooper-Fox as Frank-N-Furter, Crystal Taylor as Janet Weiss, Brad Kendrick as Brad Majors, Venessa Crowley as Magenta and The Usherette, Graham Moore as Riff Raff, Jacy Lewis as Columbia, David Knijnenburg as Eddie and Dr. Scott, and Steven Tandy as The Narrator.[66]
2004 Charity Concert
[edit]
In November 2004, the cast of the Australian soap opera Neighbours staged a benefit concert production of Rocky Horror, to raise money for the charities Variety Club Australia and the Taralye School for Deaf Children.[26] The concert starred Maria Mercedes as Frank-N-Furter (becoming the first woman to play the role),[67] Alan Fletcher as Brad, Natalie Bassingthwaighte (who also produced the show) as Janet, Brett Swain as Riff Raff, Marcella Russo as Magenta, Marisa Warrington as Columbia, Bernard Curry as Eddie, Terence Donovan as Dr. Scott, Blair McDonough as Rocky Horror, Ian Smith as The Narrator, and Natalie Blair as the Usherette.
The concert ran as a one night only engagement at the Regent Theatre in Melbourne. The event raised $200,000 for the chosen charities.[67]
2008 Australian Revival
[edit]
In 2008, Gale Edwards staged a revival of The Rocky Horror Show at the Star Theatre in Sydney, Australia, where it played from 12 February to 30 March. The production starred iOTA as Frank-N-Furter, Kellie Rhode as Janet Weiss, Andrew Bevis as Brad Majors Tamsin Carroll as Magenta and the usherette, Paul Capsis as Riff Raff, Sharon Millerchip as Columbia (a role that won her a Helpmann Award for Best Female Actor in a Supporting Role in a Musical), Michael Cormick as Eddie and Dr. Scott, Simon Farrow as Rocky Horror, and John Waters as The Narrator.[68][69]
The revival later transferred to the Comedy Theatre in Melbourne, where it played a seven-month run (from September 2008 to March 2009).[70] Television presenter Gretel Killeen replaced Waters as the narrator for the first half of the Melbourne run, while media personality Derryn Hinch played the role for the remainder of the run.[71][72]
2014–2015 Australian Tour
[edit]
In January 2014, a new Australian tour of the UK production began to celebrate the show's 40th anniversary. While keeping a similar stage to the one in the UK Tour, it featured a new cast with Craig McLachlan reprising the role of Frank, which he played in the 1992 Australian Production. Additional cast members include Tim Maddren as Brad, Christie Whelan Browne (later Teagan Woulters) as Janet, Ashlea Pyke as Columbia, Erika Heynatz as Magenta/Usherette, Nicholas Christo as Eddie/Dr. Scott, Brendan Irving as Rocky, and Tony Farrell as the Narrator. Kristian Lavercombe reprises his role of Riff Raff from both the UK Tour and the New Zealand production. The Phantoms are played by Vincent Hooper, Luigi Lucente, Meghan O'Shea, Angela Scundi, and James Maxfield.
The tour premiered in Brisbane on 10 January 2014 at the Queensland Performing Arts Centre and ran until 9 February. The tour then transferred to Perth's Crown Theatre and ran from 16 February 2014 to 9 March 2014. The performance transferred to the Adelaide Festival Centre to run from 21 March 2014 to 13 April 2014 with a preview on 20 March 2014. Richard O'Brien took over the role of the Narrator for the run in Adelaide. The performance then transferred to the Melbourne Comedy Theatre. It ran from 26 April 2014 with previews from 23 April 2014 before finishing its run on 22 June 2014.
The tour then took a break due to scheduling conflicts and McLachlan's involvement in The Doctor Blake Mysteries before transferring to the Sydney Lyric Theatre where it ran from 15 April 2015 to 7 June 2015. It featured new additional replacement cast members which included Stephen Mahy as Brad, Amy Lehpamer as Janet, Angelique Cassimatis as Columbia, Jayde Westaby as Magenta/Usherette, and Bert Newton as the Narrator. The Phantoms are played by Darren Tyler, Drew Weston, and Suzanne Steele.
The performance then returned for its final encore back at the Melbourne Comedy Theatre. It ran from 12 June 2015 before concluding on 19 July 2015 after being extended for one additional week due to popular demand. O'Brien took over the role of the Narrator for a week in Melbourne.
In December 2017, an encore tour began in Adelaide.[73] Craig McLachlan briefly reprised his portrayal of Frank-N-Furter, but had to drop out of the production when it was alleged that during the original 2014 tour of Rocky Horror, he sexually assaulted cast members Erika Heynatz, Christie Whelan Browne and Angela Scundi.[74][75] Ensemble member Adam Rennie took over the role of Frank throughout the rest of Adelaide season, and continued to play the part in Brisbane and Sydney, before being replaced by Todd McKenney for the Melbourne run of the show.[76]
50th Anniversary Australian Tour
[edit]
In February 2023, the tour began at the Theatre Royal in Sydney starring Jason Donovan as Frank N Furter and Myf Warhurst as The Narrator.[77] Throughout the tour, the role of Frank N Furter was alternated with West-End performer David Bedella and the narrator with Nicholas Hammond.[78] Additional cast members include Stellar Perry as Magenta/Usherette, Henry Rollo as Riff Raff, Ethan Jones as Brad, Deirdre Khoo as Janet, Loredo Malcolm as Rocky, Darcey Eagle as Columbia and Eliis Dolan as Eddie/Dr Scott.[79]
On April 19, the show's creator Richard O'Brien joined the production for its 50th-anniversary opening night gala at the Adelaide Festival Theatre, sharing the role of Narrator with Myf Warhurst.[80]
European productions
[edit]
Belgian productions
[edit]
In 1978, from 29 April to 10 June 1978, the Belgian production of the Rocky Horror Show was staged at Teater Arena Ghent in Belgium, under the direction of Jaak Van de Velde. The cast featured Daan Van den Durpel as Frank-N-Furter, Linda Lepomme as Janet, Marijn Devalck as Brad, Wim Huys as Riff-Raff, Carmen Jonckheere as Magenta/Usherette, Chris Thys as Columbia, Jakob Beks as Eddie/Dr. Scott, Paul Codde as Rocky Horror, and Bert Van Tichelen as The Narrator. The libretto was translated by Hugo Heinen and Rene Solleveld.
Credits: Production 1978. Director: Jaak Van de Velde; Decor and Costumes: Jacques Berwouts; Choreography: Lilly De Munter; Assistant Choreography: Daan Van Den Durpel; Photography: Guido De Leeuw; Sound: Jean-Pierre Bouckaert, Luc Vandeputte and Jacques Veys; Sound design: Jean-Pierre Bouckaert, Raf Lenssens and Luc Vandeputte, Backing: Nancy Dee; Music: Tony Boast, Raf Lenssens, Walter Stes and David Warwick.[81]
The show was later remounted at the same venue from 19 November 1983 to 7 January 1984. The cast featured Daan Van den Durpel and Marijn Devalck reprising their portrayals of Frank-N-Furter and Brad, Norma Hendy as Janet, Karel Deruwe as Riff Raff, Daisy Haegeman as Magenta/Usherette, Annick Christiaens as Columbia, Jan de Bruyne as Eddie/Dr. Scott, Jo De Backer as Rocky Horror, and David Davidse as The Narrator. The show closed in early January the following year.
Credits: Production 1983–1984. Director: Jaak Van de Velde; Decor and Costumes: Jacques Berwouts; Choreography: Daan Van Den Durpel; Photography: Guido De Leeuw; Backing: Erna Plasterman; Orchestra: Tony Boast, Bart Bracke, Filip Demeyere, Willy Seeuws and Walter Stes.[82]
Danish productions
[edit]
The musical opened at the Gladsaxe Theater in Copenhagen, Denmark on 28 September 1974. The cast featured Willy Rathnov as Dr. Frank-N-Furter, Kirsten Peüliche as Janet Weiss, Eddie Skoller [da] as Brad Majors, Jesper Klein as Riff-Raff, Lykke Nielsen as Magenta/Usherette, Lisbet Lundquist as Columbia, Otto Brandenburg as Eddie/Dr. Scott, Bent Warburg as Rocky Horror, and Jørgen Buckhøj as The Narrator.[83]
Two revival shows of the Danish production were staged under the direction of Per Pellesen, at the Aalborg Theater, Jutland in 1992 and at the Nørrebros Theater, Copenhagen in 2003.
Dutch productions
[edit]
A Dutch-language version of the musical opened on 18 March 1976 at the Theater Royal, a former cinema, in Nieuwendijk, Netherlands. Produced by René Solleveld, who also served as co-translator for the libretto, working with screenwriter Hugo Heinen. Directed by Derek Goldby; choreography by Serge-Henri Valcke; decor and costumes by Bob Ringwood; musical direction by Ruud Bos and performed by, the Amsterdam-based rock band, "Water".[84][85]
The cast featured Hugo Metsers as Dr. Frank-N-Furter, Trudy de Jong as Janet Weiss, Derek de Lint as Brad Majors, Hans Beijer as Riff-Raff, Moniek Toebosch as Magenta/Usherette, Thea Ranft as Columbia, Robert Funcke as Eddie/Dr. Scott, Peter van de Wouw as Rocky Horror, and Jan Staal as The Narrator.
The show only ran for a month, before poor ticket sales forced it to close.[86]
French productions
[edit]
A French-language version of the musical was staged at the Théâtre de la Porte Saint-Martin, Paris in 1975. Production by Jean-Pierre Reyes in association with Michael White. Original text and music booklet by Richard O'Brien; adapted into French by Javier Arroyuelo and Rafael Lopez Sanchez, the song's lyrics were translated by Alain Boublil; directed by Pierre Spivakoff; sets and costumes by Elisabeth Saurel and choreography by Victor Upshaw.
The cast featured Pierre Spivakoff as Dr. Frank-N-Furter, Nathalie Brehal as Janet Weiss, Roger Mirmont as Brad Majors (renamed Paul in the production), Gérard Surugue as Riff-Raff, Myriam Mézières [fr] as Magenta/The Usherette, Celia Booth as Columbia, Ticky Holgado as Eddie/Dr. Scott, Jeffrey Kime as Rocky Horror, Geoffrey Carey as The Narrator.[87]
German productions
[edit]
In 1980, two different interpretations of the musical were staged in Germany.
In 1980 director Walter Bockmayer, released The Rocky Horror Show in Essen as a German premiere, which opened on 20 January 1980 at the Grillo-Theater. This production deviated greatly from the original London productions in regards to characterisation, costuming and set design. Instead of the morbid castle Bockmayer's extravagant design set his lustful Transylvanians in a sterile hospital on time travel.[88]
Frank-N-Furter was played by the American guest star Decoven C. Washington, who thus became the first black man to embody the main antagonist.[89] The cast also featured Rotraut Rieger as Janet Weiss, Detlev Greisner as Brad Majors, Fritz Brieserheister as Riff-Raff, Jutta Bryde as Magenta, Sue Hürzeler as Columbia, Yoyo Petit as Eddie, Manfried Hilbig as Dr. Scott, Till Krabbe as Rocky Horror, Siegfried Wittig as Narrator, and Helmut Fülberth as Usherette.[90]
The second was a production imported from England by producer Cameron Mackintosh, which ran briefly in October/November. The show was supposed to have an extensive run, but a lack of co-operation from the German producers saw Mackintosh pull the show after only a few weeks.[91] Mackintosh's production primarily featured a cast of English actors, which included Jeff Shankley as Frank-N-Furter, Philip Bretherton as Brad, Perry Bedden (a cast member from the film adaptation of Rocky Horror) as Riff-Raff, Trevor Byfield as Eddie/Dr. Scott, and Nicholas Courtney as The Narrator.
Norwegian production
[edit]
The musical premiered on 11 October 1977 at the Oslo Nye Centralteatret in Oslo, Norway, boasting a cast of both established actors and popular names from the music industry. The production was directed by David Toguri (with assistance from Brian Thomson), while Richard O'Brien's original script was translated into Norwegian by actor Johan Fillinger and musician Ole Paus.[92] The show generated heated controversy in the press, with newspapers and commentators declaring that the show signified the decline of morality in the country. But despite the press' hostility, the show performed a total of 129 times, before officially closing 18 March 1978.
The cast featured Knut Husebø as Dr. Frank-N-Furter, Kari Ann Grønsund as Janet Weiss (renamed "Janee" in the production), Ivar Nørve as Brad Majors (renamed "Jan"), Jahn Teigen as Riff-Raff, Gro Anita Schønn as Magenta and The Usherette, Julie Ege as Columbia, Per Elvis Granberg as Eddie, Egil Åsman as Dr. Scott, Zakhir Helge Linaae as Rocky Horror, and Bjarne Bø as The Narrator.[93]
Spanish productions
[edit]
The first Spanish staging of the musical was performed in Madrid, Spain from September 1974 to July 1975, which was presented as "a sexual satirical musical" directed by Gil Carretero. The libretto was translated and adapted by Juan José Plans and Roberto Estevez, who toned down the original script's profanity an approach in response to censorship during the Franco regime.[94]
The cast featured Alfonso Nadal as Frank-N-Furter (renamed Frank-Burguesa), Flora Maria Alvaro as Janet Weiss (renamed Sibilia Cooley), Miguel Angel Godo as Brad Majors (renamed Thiero Smith), Alberto Berco as The Narrator, Pedro Mari Sanchez as Rocky Horror, Ricardo Zabala as Riff Raff, Raquel Ramirez as Columbia, Adolfo Rodriguez as Eddie/Dr. Scott and Mayra Gómez Kemp in the double role as Magenta/ Usherette.[94]
The show opened Cerebro Music Hall, playing every weeknight as an adults-only event at 11:00 pm to standing room only. Saturday nights would also include a second show that played at 1:00 am. The show received considerable media attention, due to its boundary-pushing themes being considered as a personal attack towards the Franco Regime that was ruling the country at that time.
After completing its run at the La Discoteca Cerebro, the show reopened at the Teatro Valle-Inclán, where it played from August to October 1975.[95][96]
In 1977, a Catalan-language version of the musical directed by Ventura Pons and produced by Jordi Morell, with the slogan "L'espectacle més desmadrat del segle" (The most riotous show of the century), premiered on 4 March 1977 at Teatro Romea in Barcelona. The libretto was translated by Narcissus Comadira, who, like the translators of the Madrid production, changed the names of the three leads, Frank-N-Further, Janet Weiss and Brad Majors. The characters were renamed Dr. Frank Esteve, Anna Prou Grossa and Ramon Poch. The cast featured Oriol Tramvia as Frank, Maria Cinta as "Anna", Jordi Ponti as "Ramon", Guillem Paris as Riff Raff, Christa Leem as Magenta and The Usherette, Dolores Laffite as Columbia, Enric Pous as Eddie/Dr. Scott, Pau Bizarro as Rocky Horror, Biel Moll as The Narrator.[94][97]
European Tour 1996–2005
[edit]
Directed by Christopher Malcolm (the original Brad), Choreographed by Stacey Haynes and co-produced with BC&E German Producers, the cast of the 1996–2005 European Tour included: Bob Simon/William E. Lester/Paul Pecorino as Frank-N-Furter; David Schmittou as Brad Majors; Ellen Hoffman as Janet Weiss Amanda-Jane Manning; Caroline Liadakis/Jo Gibb/Lisa Boucher as Columbia; Sherry Hart/Lydia Taylor/Karin Inghammar as Magenta; David Nehls/Gene Dante/Brenden Lovett as Riff Raff;[26] David Velarde as Rocky Horror; Ted Anderson as Eddie/Dr. Scott; and Hans B. Goetzfried as The Narrator.[98]
A soundtrack CD was released by Lava Records/Polymedia International Music Service. This had been recorded in January 1996 at the Livingstone Studios in London.[99]
European Tour 2008–09
[edit]
The 2008-9 European tour began at the Admiralspalast Theater in Berlin, Germany in November 2008. Performers included Rob Morton Fowler as Frank-N-Furter; Ceri-Lyn Cissone as Janet; Chris Ellis-Stanton as Brad; Stuart Matthew Price as Riff Raff; Maria Franzen as Magenta; Kerry Winter as Columbia; Jack Edwards as Eddie/Dr. Scott; and Andrew Gordon-Watkins as Rocky.[100]
European Tour 2014–15
[edit]
The 2014-15 European tour began at the Lanxess Arena in Cologne in late October 2014 before travelling to Zurich, Basel, Dortmund, Bremen, Düsseldorf, Stuttgart, Vienna, Frankfurt am Main and Berlin among other venues.[101][102] The cast included Rob Morton Fowler as Frank-N-Furter, Harriet Bunton as Janet, David Ribi as Brad, Stuart Matthew Price as Riff Raff, Hannah Cadec as Columbia, Maria Franzén as Magenta, Vincent Gray as Rocky and Charles Brunton as Eddie/Dr. Scott.[103]
European Tour 2017–18
[edit]
A European tour of Rocky Horror commenced in Cologne in Germany in October 2017, visiting venues across Germany and Italy before ending in Hanover in April 2018.[104][105]
The cast includes: Gary Tushaw - Frank-N-Furter; Sophie Isaacs - Janet; Felix Mosse - Brad; Stuart Matthew Price - Riff Raff; Anna Lidman - Magenta; Holly Atterton - Columbia; Ryan Goscinski - Rocky; and Daniel Fletcher - Eddie / Dr. Scott
U.S. productions
[edit]
1978 Jericho production
[edit]
In December 1978, the musical was staged for an eleven night run at the Westbury Music Festival in Jericho, New York. This was the second official production in the US after the 1975 Broadway production, and after the film's release.
The cast featured Justin Ross as Frank-N-Furter, Kristen Meadows as Janet Weiss, Stephan Burns as Brad Majors, Richard Casper as Riff-Raff, Diane Duncan as Magenta and Trixie, the Westbury Popcorn Girl (a version of The Usherette), Kitty Preston as Columbia, Robert Zanfini as Eddie and Dr. Scott, Michael Hawke as Rocky Horror, Randolph Walker as The Narrator.
During the first night, the audience called back to the actors, as they did with the film. The cast were unsure how to react. Despite the unexpected heckling, the show was a success.[citation needed]
1980 North American production
[edit]
The Rocky Horror Show toured North America. The cast featured Frank Gregory as Frank-N-Furter, Marcia Mitzman as Janet, Frank Piergo as Brad, Pendleton Brown as Riff Raff, Lorelle Brina as Magenta, Meghan Duffy as Trixie, C. J. Critt as Columbia, Kim Milford as Rocky, and Steve Lincoln as the Narrator.
2000 Broadway revival
[edit]
The Rocky Horror Show had a longer revival on Broadway from October 2000 to January 2002 at the Circle in the Square Theatre and featured Tom Hewitt (later Terrence Mann) as Frank-N-Furter, Alice Ripley as Janet, Jarrod Emick (also Luke Perry) as Brad, Raúl Esparza (later Sebastian Bach) as Riff Raff, Joan Jett as Columbia/Usherette (later Ana Gasteyer), Lea DeLaria (later Jason Wooten) as Eddie/Dr. Scott, and Daphne Rubin-Vega as Magenta.
From October 2001 to January 2002, several guest celebrities played the Narrator role normally performed by Dick Cavett (Kate Clinton took over for a week while Cavett was on vacation), including Gilbert Gottfried, Sally Jesse Raphael, Robin Leach, magicians Penn & Teller, New York Post columnist Cindy Adams, MTV personality Dave Holmes, and talk show host Jerry Springer. It is suggested that the revival, like other shows running at the time, closed early because of financial losses during the time following 9/11: Rubin-Vega recalled, "It went from full house to practically two people."[106] The revival was nominated for the following Tony Awards: Best Actor: Tom Hewitt; Best Costume Designer: David C. Woolard; Best Director: Christopher Ashley; and Best Musical Revival.
35th Anniversary benefit performance
[edit]
In October 2010, Kenny Ortega directed a benefit performance of Rocky Horror to celebrate the musical's 35th anniversary.[107] The show was staged as a one-night only event at the Wiltern Theatre in Los Angeles, and featured Julian McMahon as Frank, Matthew Morrison as Brad, Lea Michele (Act 1) and Nicole Scherzinger (Act 2) as Janet, Scherzinger as The Usherette, Evan Rachel Wood as Magenta, Lucas Grabeel as Riff Raff, Melora Hardin as Columbia, Jorge Garcia as Eddie, George Lopez as Dr. Scott, Mike Breman as Rocky, and Jack Nicholson and Danny DeVito sharing the role of The Criminologist.[107][108] The performance also featured a special guest appearance from Rocky Horror veterans Tim Curry and Barry Bostwick, who joined the anniversary cast for an encore of "The Time Warp".
The event's proceeds went to the charity The Painted Turtle, a California camp for children with chronic or life-threatening illnesses.[107]
2019 Salem production
[edit]
In October 2019, the musical was staged in the capitol of Oregon at Salem's Historic Grand Theatre with professional regional theatre company Enlightened Theatrics. Presented to coincide with the 45th Anniversary, the show ran from 9 October through 3 November, and starred Rhansen Mars as Frank-N-Furter, Neely Golightly as Riff Raff, Margo Schembre as Magenta, and Cassandra Pangelinan as Columbia. Following the previews for this production, the nation's first openly transgender mayor, Stu Rasmussen, moderated post-show talk backs with the cast.[109][110][111]
2023 Central Square Theater production
[edit]
In October—December 2023, a production of The Rocky Horror Show was produced with a majority transgender and nonbinary production team and cast at Central Square Theater in Cambridge, MA. The musical was co-directed by Lee Mikeska Gardner (CST's Artistic Director) and Jo Michael Rezes for the 50th anniversary of the musical's London debut at the Royal Court Theatre's Theatre Upstairs: "This production is attempting to get back to the roots of the radical nature of the 1973 show by giving it a 2023, 50-year anniversary twist by having five trans and non-binary actors in major roles in the production...trying to bring it back to the root of what the show was originally, as transgressive and radical and shocking."[112] Rezes is the first openly nonbinary director to stage Rocky Horror regionally in the United States, with their version of the show emphasizing gender rehearsal,[113] phobias of transmedicalism, and transgender representation on US stages.[114]
Canadian Productions
[edit]
1976 Toronto
[edit]
In 1976, the musical, in a production by The Actors' Stage Company, received its Canadian premiere at the Ryerson Theatre in Toronto. The cast included Brent Carver as Dr. Frank-N-Furter, a young Kim Cattrall as Janet Weiss, Ross Douglas as Brad Majors, Louis Negin (who also served as the production's director) as Riff-Raff, and Tabby Johnson as Columbia. The show ran for three weeks from 29 June to 17 July.[115][116]
2018 Stratford Festival
[edit]
In 2018, the world renowned Stratford Festival; more synonymous with the works of William Shakespeare and other classics performed in repertory presented Rocky Horror as part of its 2018 season.[117] Choreographed and Directed by Stratford stalwart Donna Feore, Rocky Horror played to packed houses, and was extended multiple times past its originally scheduled closing date of Halloween; finally closing on 2 December 2018 as the longest running production in the Stratford Festival's 66-year history.[118]
Latin American productions
[edit]
1975 Brazilian production
[edit]
In February 1975, The Rocky Horror Show made its debut at Teatro da Praia in Rio de Janeiro, Brazil. The libretto was translated and adapted by Jorge Mautner, Joe Rodrix and Kao Rossman, in whose hands saw a great deal of Richard O'Brien's original script adapted to suit Brazilian audiences.[119] As the Hollywood horror and sci-fi films that the musical references were not that well known in Brazil at that time, references to the local culture was instead incorporated into the show. (For example: The lyric "What ever happened to Faye Wray" in the floor show sequence was changed to reference popular Brazilian samba singer Carmen Miranda.)
The cast featured Eduardo Conde as Dr. Frank-N-Furter, Diana Strella as Janet Weiss, Wolf Maia as Brad Majors, Tom Zé as Riff-Raff, Betina Viany as Magenta, Vera Setta as Columbia, Zé Rodrix as Eddie and Dr. Scott, Acácio Gonçalves as Rocky Horror, Nildo Parente as The Narrator, and Lucélia Santos as Baleira (a character possibly based on The Usherette from the original show).[119]
1975 Argentinian production
[edit]
In July 1975, Héctor Cavallero and Leonardo Barujel staged Gil Carretero's vision of The Rocky Horror Show at Teatro Pigalle in Buenos Aires, Argentina. The show was directed by Gil Carretero, who also mounted and directed the Madrid production, and libretto was adapted by Jorge Schussheim. The characters Frank-N-Furter, Brad and Janet were renamed to Frank Burguesa, Ceiro and Sibila. The Usherette renamed to Acomodadora.[120]
The cast featured Osvaldo Alé as "Frank Burguesa", Valeria Lynch as "Sibila Cooley", Ricardo Pald as "Theiro Smith", Sergio Villar as Riff-Raff, Linda Peretz as Magenta / Acomodadora, Anna Maria Cores as Columbia, Carlos Wibratt as Eddie and Dr. Scott, Eddie Sierra (aka Yeffry) as Rocky, and Rolo Puente as The Narrator. Martha Hendrix and Enrique Quintanilla (Fantasmas).[120]
The show opened at a cabaret-style venue. A few days after the premiere, unknown assailants threw a Molotov cocktail at the theater, which aimed to cause casualties. There was a minor fire that did not damage the hall, some functions were suspended, but the show continued and ran for three months. Triple A was believed to have been responsible, employing violent tactics against suspected dissidents and subversives.[120] Due to political persecutions, frequent threats and censorship, the company was disbanded.[26]
1976 Mexican production
[edit]
Richard O'Brien's musical first came to Mexico in 1976 through the pioneering efforts of Julissa, Mexican actress, producer and singer. "El Show de Terror de Rocky", premiered on 11 March in a novel concept of cabaret theater, in the Versailles hall of the now defunct Hotel of the Prado. It later transferred to Teatro Venustiano Carranza.[121]
Julissa's Spanish translation of song lyrics includes changes to the names of main characters - Brad and Janet become Carlos and Chelo while Dr. Scott is instead Dr. Carrillo.
The cast featured Julissa as "Chelo", Gonzalo Vega as Dr. Frank-N-Furter, Hector Ortiz as "Carlos", Luis Tomer as Riff-Raff, Paloma Zozaya as Magenta and Usherette, Norma Lendech as Columbia, Lauro Pavón as Eddie and "Dr. Carrillo", Cecil Goudie as Rocky Horror, and Manuel Gurria as Narrator.
A cast recording of the production was released on LP in a small volume, later converted to CD-R and eventually a commercial CD.[122]
In 1986, a second production was staged in Mexico, presented again by Julissa.[123]
2013 Panamanian production
[edit]
In 2013 the English community Theatre Guild of Ancon presented the show under the direction of Melanie Gilpin (Lee). The show ran from 24 October,25,26,31 – 1 November,2 – 2013.[124][125]
2016 Brazilian production
[edit]
In 2016, a new staging premiered in São Paulo under the direction and production of Charles Möeller and Cláudio Botelho, a famous duo who signed previous successful Brazilian adaptations, such as Spring Awakening and The Sound of Music. The cast included Marcelo Médici (Frank), Bruna Guerin (Janet), Felipe de Carolis (Brad), Gottsha (Magenta/Usherette), Thiago Machado (Riff Raff), Jana Amorim (Columbia), Nicola Lama (Eddie / Dr. Scott), Felipe Mafra (Rocky) and Marcel Octavio (Narrator) with Vanessa Costa and Thiago Garça (Ghosts).
Shortly before the premiere of the musical, Botelho became embroiled in controversy after posting transphobic and homophobic comments on his personal Facebook page regarding trans people. In his words:
Guys, this sort of thing [being trans] is spreading because the parents do not hit their kids anymore. But if a father hits a LaverME [here, he makes a pun with Laverne Cox and the word "worm" in Portuguese], a fagot rights entity say that she is a woman trapped inside the body of a man. Well, I'm a blue-eyed blonde soul lost in a body of a bumpkin for fifty years and nobody ever defended me. Don't I have human rights? Like I said: if the father hits them, they will know it's wrong and will have sex with their guy friend from school, they will not say they are trans people, they will try to find a man to them and will stop searching for the spotlight. The spotlight is for Judy, Barbra and Rogéria [a very famous Brazilian trans actress], the rest is a bunch of junkie fagot from rave parties.[citation needed]
Following the event, many Facebook users have expressed outrage at Botelho's claims. In his defense, the director said that the comments were nothing more than a joke and that they were taken out of context. According to him, it was just a discussion about the casting of actress Laverne Cox for the then-upcoming television film.
The production was still highly successful, especially for the large number of cosplayers who, at the end of very show, were invited to dance the "Time Warp" on stage with the cast.
New Zealand
[edit]
The musical had its New Zealand premiere in 1978, where it went on a national tour. The cast featured controversial rocker Gary Glitter as Dr. Frank-N-Furter, Jenni Anderson as Janet Weiss, John Collingwood-Smith as Brad Majors, Sal Sharah as Riff-Raff (reprising his role from the original Australian premiere), Sharron Skelton as Magenta/Usherette, Suburban Reptiles vocalist Clare Elliott (under the stage name "Zero") as Columbia, Paul Johnstone (a former understudy from the original Australian premiere) as Eddie/Dr. Scott, Rayner Bourton as Rocky Horror (later Graham Matters), and Keith Richardson as The Narrator.[126]
Asian productions
[edit]
Japanese productions
[edit]
The first Japan performances of the Rocky Horror Show, presented by Walking Elephants Ltd., was scheduled from 23 June through 9 September 1975 in Tokyo and Osaka,[127] and opened at the Rocky Horror Theatre (more commonly known as the Miyakezaka Hall) in Akasaka, Tokyo.[128] Directed for Japan by Christie Dickason with an all-English cast including Trevor Byfield as Frank-N-Furter, Christopher Malcolm and Belinda Sinclair as Brad and Janet, Rayner Bourton as Rocky (reprising their roles from the original London run), and Peter Bayliss as The Narrator. Other cast members, included: Judith Lloyd (Columbia), Caroline Noh (Magenta/Usherette), Desmond McNamara (Riff-Raff) and Neil McCaul (Eddie/Dr. Scott).[129]
After the Tokyo performance, there were also regional performances.[130] The popularity of the tour led to special single recordings of "Sweet Transvestite" performed by Trevor Byfield [131] and "Touch-a, Touch-a, Touch-a, Touch Me" by Belinda Sinclair.[132]
In 1976 Walking Elephant Co. Ltd. presented an encore tour directed by David Toguri,[133] which saw the show visit 16 cities in three and a half months. Venues included Tokyo, Osaka, Kyoto, Kobe, Sapporo and Fukuoka.[citation needed] The tour's cast featured Martin Asscher as Dr. Frank-N-Furter (later Derek Damon), Deirdre Dee as Janet Weiss, Derek Beard as Brad Majors, John Dicks as Riff-Raff, Tina Jones as Magenta/Usherette, Jeannie Mc'Artur as Columbia, Peter Dawson as Eddie/Dr. Scott, James Smith as The Narrator, and Rayner Bourton returning as Rocky.[133]
Singapore
[edit]
Based on the 2009–10 UK Tour and following runs in South Korea and New Zealand in 2010, Christopher Luscombe's international touring production ended at the Esplanade Theatre, Singapore, in January 2012.[134] The international cast was joined by local stage and screen actor Hossan Leong as the Narrator whilst two further UK Tour actors joined the company with Kara Lane and Daniela Valvano reprising their roles as Magenta/Usherette and Phantom, respectively. This production was the first uncensored version of The Rocky Horror Show to be performed in Singapore with the previous 1993 production having been toned down.[135] The film adaptation was banned until 2003.[136]
Seoul
[edit]
In August 2010, a new production based on the 2009–10 UK Tour opened in Seoul, South Korea starring Juan Jackson as Frank-N-Furter and Kristian Lavercombe as Riff Raff with an international cast.[citation needed] Following the seven-week run the production commenced a limited tour of New Zealand in November 2010, playing at theatres in Auckland, Wellington and Christchurch with Richard O'Brien as the Narrator.[citation needed] UK Tour actors Richard Meek and Haley Flaherty reprised their roles as Brad and Janet for the final week of the New Zealand run, flying out days after the end of the UK production in December 2010.[citation needed]
Legacy
[edit]
Beyond its cult status, The Rocky Horror Show is also widely hailed, alongside other experimental theatre works such as Hair, to have been an influence on the countercultural and sexual liberation movements that followed on from the 1960s.[137] It was one of the first popular musicals to depict fluid sexuality during a time of division between generations and a lack of sexual difference acceptance.[138]
As a result, the show received "a mauling from New York-based critic Rex Reed, who said the production 'was only for homosexuals'".[139] However, O'Brien stated that it is rather a celebration of difference that allows marginalized communities to gather and coexist.[139] Unlike Reed, other critics would suggest that "though many people might laugh at the notion, Rocky Horror is in many ways a serious musical and a serious social document".[140]
The musical was ranked eighth in a BBC Radio 2 listener poll of the "Nation's Number One Essential Musicals".[141] The Rocky Horror Show was one of eight UK musicals featured on Royal Mail stamps, issued in February 2011.[142] In January 2023, it was announced that there would be an NFT collection to celebrate the 50th anniversary of the stage show's first appearance.[143]
Casts
[edit]
Role London (1973) Roxy, Los Angeles (1974) Broadway (1975) West End Revival/UK Tour (1990–1991) Los Angeles (1999) Broadway Revival (2000) 35th Anniversary (2010) 40th Anniversary (2015) 50th Anniversary London (2023) 50th Anniversary Australia (2023) Frank-N-Furter Tim Curry[a] Tim McInnernyAnthony Head David Arquette Tom Hewitt Julian McMahon David Bedella Stephen Webb Jason DonovanDavid Bedella Janet Weiss Julie CovingtonBelinda Sinclair Abigale Haness Gina Bellman Lacey Kohl Alice Ripley Lea Michele Haley Flaherty Deirdre Khoo Brad Majors Christopher Malcolm Bill Miller Adrian EdmondsonCraig Ferguson Timothy A. Fitz-Gerald Jarrod Emick Matthew Morrison Ben Forster Richard Meek Ethan Jones Riff Raff Richard O'Brien[a] Bruce Scott Richard O'Brien Edward Tudor-Pole Donnie Kehr Raúl Esparza Lucas Grabeel Kristian Lavercombe Henry Rollo Magenta Patricia Quinn[b] Jamie Donnelly Kate O’Sullivan
Mary Maddox Kirsten Benton Daphne Rubin-Vega Evan Rachel Wood Jayde Westaby Suzie McAdam Stellar Perry Usherette Nicole Scherzinger Columbia Nell Campbell[a] Boni Enten Linda Davidson Hynden Walch Joan Jett Melora Hardin Sophie Linder-Lee Darcy Finden Darcey Eagle Rocky Horror Rayner Bourton Kim Milford Adam Caine James Carpinello Sebastian LaCause Mike Breman Dominic Andersen Ben Westhead Loredo Malcolm Eddie Paddy O'Hagan Meat Loaf[c] Gordon Kennedy
Ivan Kaye
Bob Simon Lea DeLaria Jorge Garcia Richard Meek Joe Allen Ellis Dolan Dr Everett V. Scott Eric Levity George Lopez The Criminologist (Narrator) Jonathan Adams[d] Graham Jarvis Jonathan Adams Paxton Whitehead Dick Cavett Jack NicholsonDanny DeVito Emma BuntonAde EdmondsonStephen FryAnthony HeadMel GiedroycRichard O'Brien Phillips FranksJackie Clune Myf WarhurstRichard O'BrienNicholas HammondJoel Creasey
Notable Original West End Replacements
[edit]
Frank-N-Furter: Philip Sayer, Ziggy Byfield, Peter Blake, Daniel Abineri
Brad Majors: James Warwick, Hayward Morse, Steve Devereux
Janet Weiss: Susie Blake, Tracey Ullman
Magenta: Angela Bruce, Leueen Willoughby, Leni Harper
Riff-Raff: Robert Longden
Rocky Horror: Miles Fothergill, Jeremy Gittins, Gary Martin
Eddie/Dr.Scott: Gary Olsen
Narrator: Terence Bayler, Tom Chatto[144]
Notable Roxy Theatre Replacements
[edit]
Frank-N-Furter: Paul Jabara
Janet Weiss: Beverly Bremers
Riff-Raff: Bart Braverman
Notable Broadway Revival Replacements
[edit]
Frank-N-Furter: Terrence Mann
Brad Majors: Luke Perry
Riff-Raff: Sebastian Bach
Columbia: Liz Larsen, Ana Gasteyer
Narrator: Penn & Teller, Jerry Springer, Sally Jessy Raphael, Cindy Adams, Dave Holmes, Gilbert Gottfried, Robin Leach, Kate Clinton
Cast recordings
[edit]
Awards and nominations
[edit]
The original London production won the award for Best Musical of 1973 at the Evening Standard Awards in January 1974. Additionally, both the original Broadway production and the 2000 revival of the musicals have accrued nominations for both Tony Awards and Drama Desk Awards.
Original London production
[edit]
Year Award Category Nominee Result 1973 Evening Standard Award Best Musical Won
Original Broadway production
[edit]
Year Award Category Nominee Result 1975 Tony Award Best Lighting Design Chip Monk Nominated Drama Desk Award Outstanding Actor in a Musical Tim Curry Nominated Outstanding Featured Actress in a Musical Boni Enten Nominated Unique Theatrical Experience Nominated
2001 Broadway revival
[edit]
Year Award Category Nominee Result 2001 Tony Award Best Revival of a Musical Nominated Best Performance by a Leading Actor in a Musical Tom Hewitt Nominated Best Direction of a Musical Christopher Ashley Nominated Best Costume Design David C. Woolard Nominated Drama Desk Award Outstanding Revival of a Musical Nominated Outstanding Actor in a Musical Tom Hewitt Nominated Outstanding Director of a Musical Christopher Ashley Nominated Outstanding Choreography Jerry Mitchell Nominated Outstanding Set Design of a Musical David Rockwell Nominated Theatre World Award Raúl Esparza Won
References
[edit]
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| 45
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https://www.grantthornton.com/insights/articles/banking/2023/how-to-keep-your-models-conceptually-sound
|
en
|
How to keep your models conceptually sound
|
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[
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[] |
2023-01-31T00:00:00
|
Modeling experts and key business stakeholders need to work together to make sure banking models are appropriate for their purpose.
|
en
|
/etc.clientlibs/grantthornton/clientlibs/clientlib-site/resources/icon-192x192.png
|
Grant Thornton
|
https://www.grantthornton.com/insights/articles/banking/2023/how-to-keep-your-models-conceptually-sound
|
Conceptual soundness in financial services’ model risk management has a lot in common with the cubism movement that became popular in the art world in the early 20th century. Artists such as cubism movement pioneer Pablo Picasso focused on utilizing geometric shapes to depict realistic objects in an abstract view.
What does cubism, a discipline filled with subjectivity, have to do with the largely impartial field of modeling? Cubism integrates visual mathematics with human interpretation; this draws a parallel to conceptual soundness for modeling. While conceptual soundness leverages the application of textbook mathematical concepts, vagueness and ambiguity exist in this phase of the modeling process as well. As such, many institutions struggle to understand the criteria they are expected to adhere to in order to maintain a conceptually sound model.
What is conceptual soundness?
Conceptual soundness incorporates two key elements: the technical component and the discretionary component. The technical component invokes the use of standard mathematical or statistical practices for model construction. The discretionary component incorporates judgment from model stakeholders to build in the nuances that make the model fit the institution’s strategy and business objectives.
As a fundamental aspect of the model risk management framework, conceptual soundness is highlighted by the Supervisory Guidance on Model Risk Management (SR 11-7 / OCC 2011-12) issued by the Federal Reserve and Office of the Comptroller of the Currency (OCC). The guidance states that conceptual soundness entails the “quality of the model design and construction,” which includes a range of elements:
Model purpose
Model theory, methodology and mathematical components
Consideration of multiple development methods
Variable selection
Key assumptions and limitations
Data relevance
Results of sensitivity analysis
Qualitative information and management judgment
Given the importance of conceptual soundness for the ongoing success of models, the OCC has also provided more detailed guidance in the Comptroller’s Handbook on Model Risk Management (OCC 2021-39), which lists the following areas to analyze with regard to conceptual soundness:
Soundness of statistical or mathematical principles applied
Practicality based on business operations, product behaviors, or environmental factors
Model stability and accuracy
Evaluation of biases in model data and results
From principle to application
Once the framework for establishing conceptual soundness is in place, key questions need to be asked, such as how and when to put the principle into play and by whom. While conceptual soundness is a part of the modeling process, modeling experts alone cannot ensure a model is conceptually sound and appropriate for its purpose; key business stakeholders play an equally important role throughout the model lifecycle. The requirement for human insight and model customization establishes a need for model developers to partner with the business on key decisions.
The model validation process prioritizes the review of conceptual soundness; SR 11-7 notes the evaluation of conceptual soundness is a key pillar for model validation. The guidance establishes the regulatory expectation that model validators review, assess and thoroughly challenge the elements related to conceptual soundness of the model.
A robust validation process should include an analysis of the relevance of data used to develop the model. The expectation is to ensure the model is built with appropriate data and that the rationale for data selection and how the data relates to the institution’s business is thoroughly documented. By incorporating these considerations into the model development phase, the model owners and users can have confidence that they are aligned to the criteria they will be evaluated against during the independent validation.
Navigating the world of artificial intelligence
There is never a one-size-fits-all approach for model risk management and specifically the pillar of conceptual soundness. The methodology for establishing conceptual soundness largely differs depending on whether a model is rule-based, statistical or more complex. With the emergence of artificial intelligence and its growing use across the financial services industry, conceptual soundness has attracted the scrutiny of regulators such as the OCC. Artificial intelligence techniques often result in a black box model, in which the underlying logic is a mystery. As such, the lack of transparency and explainability for these types of models presents an avenue for key stakeholders to question what is going on behind the scenes of an institution’s decision-making processes, according to an OCC bulletin published in 2021.
To address these concerns, financial institutions should consider the model use, complexity and degree of risk to ensure crucial decisions have a sustainable foundation. The lack of knowledge around the model’s processing component poses a considerable limitation. Because of this, enhanced challenge and review of model inputs and outputs is paramount. Model owners must maintain support for the quality and relevance of data under which the model was built, and a model’s operational performance must be robustly evaluated on an ongoing basis. Moreover, the foundation of the model should be thoroughly documented and challenged to validate that it continues to provide adequate support for business operations.
Conceptual soundness presents a crucial intersection between the business and technical contributors to model development. Collaboration between these two groups is imperative for success during the model lifecycle.
With the emergence of new technology in a constantly evolving world, financial institutions must focus on the transparency of model functionality to maintain accountability over key decisions. Similar to cubism and other art movements formed as a response to revolutionary changes, financial institutions must learn to adapt to a transformative world by marrying technical aspects with nuanced business judgment.
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https://www.sawtooth.org/classes-camps/adult-classes/
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en
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Adult Classes - Sawtooth School for Visual Art
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2018-12-14T17:30:34+00:00
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Register for adult art and craft classes and workshops. Search classes by department for easier navigation and quick access.
|
en
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Sawtooth School for Visual Art
|
https://www.sawtooth.org/classes-camps/adult-classes/
|
YOUR SPACE TO CREATE
Sawtooth School offers 1000+ classes and workshops annually across eleven visual art mediums. Our courses are designed to provide creative opportunities and unique art experiences for students of various skill levels and backgrounds.
Sawtooth offers foundational courses that introduce students to new art mediums and intermediate + advanced courses that expand artists’ skills and the development of new works.
Our instructors are experienced studio artists, and educators committed to providing quality art instruction.
Classes are offered as one or two-day workshops and weekly courses throughout four annual sessions– winter, spring, summer, and fall.
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6669
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dbpedia
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3
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https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8212290/
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The rationale behind systematic reviews in clinical medicine: a conceptual framework
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[
"Hamideh Moosapour",
"Farzane Saeidifard",
"Maryam Aalaa",
"Akbar Soltani",
"Bagher Larijani"
] |
2021-06-17T00:00:00
|
A systematic review (SR) is a type of review that uses a systematic method to provide a valid summary of existing literature addressing a clear and specific question. In clinical medicine (CM), the concept of SR is well recognized, especially after the ...
|
en
|
https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico
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PubMed Central (PMC)
|
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8212290/
|
Background
A systematic review (SR) provides an accurate summary of studies addressing a clear and specific question through an objective and explicit method employed in the whole research process. A meta-analysis (MA) refers to both the statistical procedure that combines multiple studies’ data and an SR that includes this procedure [1].
A typical SR follows these steps: (i) determining a specific and often narrowed-down review question, a search strategy, inclusion and exclusion criteria, a synthesis approach, and preparing a structured protocol; (ii) conducting a systematic search to retrieve original studies; (iii) screening the retrieved studies by checking their titles, abstracts and then full texts, as well as using predefined inclusion and exclusion criteria; (iv) critically appraising the included studies and characterizing them by certain features (e.g., research design); (v) extracting the relevant quantitative and/or qualitative data; (vi) synthesizing the data. Subsequently, depending on the question and the available literature, and also the nature of the data, MA can be employed [1].
In clinical medicine (CM), the concept of SR is well recognized, especially after introducing evidence-based medicine (EBM); The SR of randomized clinical trials (RCTs) is considered the highest level of evidence on the effectiveness of treatment options. Moreover, the recommendations provided by SRs for clinical practice as well as the degree of factual uncertainty (about those recommendations) determined by SRs are valuable for both implementation in clinical practice as well as for future research to address those factual uncertainties [2].
The terms “systematic review” and “meta-analysis” are extensively used in the current healthcare literature; and, the publication rate of SRs has increasingly grown in recent decades. According to Ioannidis et al., among PubMed-indexed articles between 1986 and 2015, 266,782 records were tagged as “systematic review” and 58,611 records as “systematic review and meta-analysis” [3]. Moreover, a comparison between the articles published in 1991 and those published in 2014 demonstrates an increase in the publication rate of SRs and MAs by 2728% and 2635%, respectively; while this rate is only 153% for all other publication types [3].
On the other hand, some criticisms have been made about the concept of SR [3–7]. These criticisms fall into two main categories. The first category includes the proper criticisms. For instance, Ioannidis et al. discussed that despite the increasing number of SRs in clinical biomedicine, many SRs have limitations such as little value, wide redundancy, misleading claims, and/or vested interests. They have argued that many authors consider SR as a straightforward way to publish highly cited articles, rather than to clarify the evidence to promote evidence-based practice [3]. In this category, the criticisms are centered on how existing SRs have deviated from the original philosophy and rationale behind the concept of SR. Another category includes fallacious and ill-founded criticisms about SRs which are in fact misconceptions about SR, as Petticrew discussed [7]. For example, SRs have been criticized that they cannot provide easily digestible summaries of the evidence for decision-makers (while it is a common misconception as discussed later) [8].
Moreover, other areas of healthcare research (e.g., public health, medical education, health policy, and even biomedical ethics as a discipline mainly based on philosophical theories) have gradually initiated to develop their customized conceptions of SR. Although they have adjusted the original concept for their fields, these new conceptualizations still originate from the SR concept in CM [9–13]. Consequently, misconceptions about SR in CM could be transferred to these areas of research.
Therefore, critical reflection on the rationale behind the concept of SR in CM and its misconceptions can be valuable, yet again. Furthermore, despite the long establishment of the rationale behind SR in the literature such as Petticrew’s or Mulrow’s work [5, 14], an overall picture of ideas that are behind developing SR is needed to clarify the ideas and facilitate the understanding of the rationale behind SR especially in CM. Providing a conceptual framework, the value added by this review article to the current literature on the rationale behind SR, is useful to organize ideas, make conceptual distinctions, and map out concepts and the presumed relations among them.
The article can serve as a useful reference for learning and reflecting on the concept of SR in CM as defining the concept of SR, reviewing the history of the concept, clarifying the rationale behind SR through a conceptual framework, and reviewing the common misconceptions about SR in CM, all together. As conceptual maps are employed in medical education to organize and present the knowledge as well as promote meaningful learning [15], this article provides a conceptual map that is useful to teach and learn the above-mentioned concepts.
The history of systematic reviews
In the 1930s, the term “systematic review” was originally introduced in social sciences to summarize the previous studies conducted for testing a hypothesis. Gradually, new elements are added to the concept of SR; the reviewers started to appraise the results obtained through the literature search to provide an answer to a specific question; Statistical pooling of the individual studies’ results to synthesize a pooled result (i.e., MA) was initially introduced in the late 1970s. Then, healthcare systems started to employ this method. Cochrane Collaboration and the Centre for Reviews and Dissemination (CRD) were established in the UK in 1993 and 1994, respectively [5]. These pioneers aimed to promote evidence-based practice via preparing, maintaining, and disseminating SRs addressing the efficacy of various healthcare interventions (i.e., SRs of RCTs) [1].
However, the concept of SR was not exclusive to RCTs. SRs gradually appeared in other areas of science (e.g., public health) as well as for various clinical questions. For example, six different types of Cochrane reviews have been introduced so far: (i) Intervention reviews, evaluating the harms and benefits of the interventions used in healthcare and health policy; (ii) Diagnostic test accuracy reviews, evaluating the diagnostic value of diagnostic tests in the detection of a particular disease; (iii) Methodology reviews, addressing how SRs and RCTs are performed and how their results are reported; (iv) Qualitative reviews, addressing questions on the aspects other than the effectiveness by reviewing and synthesizing both qualitative and quantitative studies; (v) Prognosis reviews, addressing the probable natural course of patients with a particular disease; and (vi) Overviews of the Reviews (OoRs), compiling from the results of several SRs into a single article to be accessible, easily understandable, and useful for facilitating healthcare decision-makings. The Cochrane Library includes both Cochrane SRs and non-Cochrane SRs in The Cochrane Database of Systematic Reviews (CDSR) and CRD databases, respectively [1].
Over time, other institutes have gradually joined the research synthesis movement in healthcare including SRs and MAs, promoted the relevant methods, published and collected SRs on various subjects (e.g., Joanna Briggs Institute (JBI) and the National Institute for Health and Care Excellence (NICE)) [16, 17].
The importance of SRs in healthcare and the rapid expansion of biomedical literature, as well as the demanding and time-consuming processes of generating the SRs, require the assistance of information technology advances. Currently, various platforms are available to help researchers conduct an SR (e.g., Review Manager (Rev Man)) [18]. Since 2015, the International Collaboration for the Automation of Systematic Reviews (ICASR) has initiated activities to employ the recent advances in natural language processing, data mining (especially text mining), and machine learning to produce algorithms that are capable of a more accurate, rapid, and low-cost simulation of human work in SRs. The vision that the collaboration attempts to turn into reality is to develop such technology enabling the researchers to edit, test, and then implement an SR protocol “at the push of a button” [19].
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3
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https://cms.shakespearetheatre.org/index.php/newsroom/shakespeare-theatre-company-presents-the-taming-of-the-shrew/
|
en
|
Shakespeare Theatre Company presents The Taming of the Shrew - Shakespeare Theatre Company
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2016-04-18T16:08:48+00:00
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FOR IMMEDIATE RELEASE: April 18, 2016 Media Contact: Michael Porto 202.547.3230 ext. 2315 Press@ShakespeareTheatre.org UP NEXT AT SHAKESPEARE THEATRE COMPANY: MAULIK PANCHOLY AND PETER GADIOT TO LEAD CAST OF THE TAMING OF THE SHREW, DIRECTED BY ED SYLVANUS ISKANDAR FEATURING THE MUSIC OF DUNCAN SHEIK Washington, D.C.—Next at Shakespeare Theatre Company (STC), stage and screen […]
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Shakespeare Theatre Company
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https://cms.shakespearetheatre.org/index.php/newsroom/shakespeare-theatre-company-presents-the-taming-of-the-shrew/
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Shakespeare Theatre Company presents The Taming of the Shrew
FOR IMMEDIATE RELEASE:
April 18, 2016
Media Contact:
Michael Porto
202.547.3230 ext. 2315
Press@ShakespeareTheatre.org
UP NEXT AT SHAKESPEARE THEATRE COMPANY:
MAULIK PANCHOLY AND PETER GADIOT TO LEAD CAST OF
THE TAMING OF THE SHREW, DIRECTED BY ED SYLVANUS ISKANDAR
FEATURING THE MUSIC OF DUNCAN SHEIK
Washington, D.C.—Next at Shakespeare Theatre Company (STC), stage and screen actors Maulik Pancholy (Weeds, 30 Rock) and Peter Gadiot (Once Upon a Time in Wonderland) will be seen playing Katherina and Petruchio respectively in Ed Sylvanus Iskandar’s bold new interpretation of Shakespeare’s The Taming of the Shrew. Iskandar, known for his striking and immersive directorial style, completes STC’s 2015–2016 season with this production, playing in Sidney Harman Hall from May 17 to June 26, 2016.
Spilling from the stage into the lobbies and the street, director Ed Sylvanus Iskandar’s production presents a provocative new approach to The Taming of the Shrew and an utterly unique audience experience. Iskandar will use an all-male cast to examine the fluidity of identity, the authenticity of self-performance and the economics of love in one of Shakespeare’s most notorious texts. Set in the arena of high fashion with influences from both Renaissance and 1950s Italy, Iskandar is working to craft a spectacular world for STC audiences.
Founding Artistic Director of the theatre collective Exit, Pursued by a Bear and an emerging artist noted for his innovative interpretation of classic texts, Iskandar creates performances that shift beyond the proscenium, reconnecting audiences and artists and working to establish a thriving social community within the theatre. Iskandar’s previous projects include the 2014 Drama Desk Award-winners The Golden Dragon and The Mysteries—a collaboration with 50 playwrights that reimagined the stories of The Bible over six hours—as well as These Seven Sicknesses, a five-hour adaptation of all seven of Sophocles’ plays, and Restoration Comedy, both Drama Desk Award-nominated.
Performing the lead role of Katherina in The Taming of the Shrew, Maulik Pancholy makes his STC debut, having recently starred opposite Martin Short and Matthew Broderick in the Broadway hit It’s Only a Play. Pancholy is best known for playing Jonathan on the Golden Globe® and Screen Actors Guild® Award-winning NBC comedy 30 Rock and for playing Sanjay on Showtime’s award-winning dramedy Weeds. Playing opposite Pancholy as Petruchio is screen and stage actor Peter Gadiot, known for his work in the films The Forbidden Girl, Night Wolf and 13 Hours, in addition to his extensive television credits, including Cyrus on Once Upon a Time in Wonderland and his forthcoming leading role in USA Network’s Queen of the South, which is set to air in the summer of 2016.
Speaking about his concept for Shrew, Iskandar explains, “Shakespeare’s central narrative is about Kate, an ‘other’ who chooses to transform and rejoin society on her own terms. I want to create a world in which otherness can manifest in as visible a way as possible. I am interested in using a widely diverse canvas to express universality: the world will be specific, but the story no less universal.” Regarding his all-male cast, Iskandar continues, “With an all-male cast, we are attempting to shift the focus from the war of the sexes to the war within the self. The Public Theater has just announced an all-female production of Shrew in the Park with exactly the same running date as ours, which I can’t wait to see.” He concludes, “It seems a single-gender cast allows us to unlock this play in an important new way.”
Noted for his epic and immersive style, Iskandar will extend the world of the production beyond the stage, creating a deeply engaging experience for audience members. In line with this vision, STC will invoke the atmosphere of an Italian piazza (the Piazza d’Amore) in the Harman lobbies and will offer audience and community members the opportunity to engage with the performers of The Taming of the Shrew off-stage. Supporting Iskandar’s desire to create a community with theatre, STC has also invited local artists, makers and restaurants to lead a series of make-and-take workshops, life-hack seminars and tastings and demonstrations in STC lobbies during the run of the show. The workshop series, called The Padua Finishing School, is open to the public and can serve as a standalone event or can accompany a ticket to The Taming of the Shrew. Workshop fees range from $12–$65.
The exciting off-stage elements of this production echo Iskandar’s distinctive artistic approach to Shakespeare’s comedy on stage. “I use three major elements to tell the story, of which text is the primary one,” Iskandar explains. “Music and dance will also play major roles to create a richer world where each character in the show is treated as an individual with a full dramatic arc.” Incorporating contemporary pop music by Tony® and Grammy® Award-winner Duncan Sheik, Iskandar’s long-time collaborator, the production will use songs as the soliloquies denied to Kate, Bianca and other characters in the play. Sheik’s music, primarily performed live, will function as momentary reveries through which audiences may gain a deeper understanding of the characters. Sheik is best known for Spring Awakening, which won him Tony Awards® for Original Score and Orchestrations and a Grammy Award® for Best Musical Theater Album. He also composed the musical adaptation of American Psycho, currently on Broadway.
This production will also include a 30-minute musical intermezzo of Sheik’s compositions during the intermission. However, Shakespeare’s text will remain the show’s driving force. Iskandar explains, “Above all, we are filling and shaping the contours of the story as it lands for us, today. I was working with Duncan on a workshop for a musical while beginning my process on Taming. I started to imagine a world where I could give voice to characters without the agency to express their inner lives, and because Duncan’s work is so pure, full of sincere desire, need and love, I realized that his songbook would provide the perfect soliloquies.”
Iskandar joins STC as the first director in the Clarice Smith Series: New Directors for the Classics, having been invited by STC Artistic Director Michael Kahn after Kahn saw Iskandar’s production of The Mysteries (The Flea, NYC). “I found his style appealing, profound and very moving,” Kahn explains. “His artistic choices, paired with STC’s engagement and outreach activities, will further humanize the characters on stage for our audiences—and I also believe his choices will create a dialogue about authenticity and identity, something which is particularly relevant in our times.”
The Taming of the Shrew begins preview performances on May 17, celebrates Opening Night on Tuesday, May 24, and continues through June 26 at STC’s Sidney Harman Hall (610 F Street NW). To purchase tickets or to learn more, patrons can call the Box Office at 202.547.1122 or visit ShakespeareTheatre.org.
Director Ed Sylvanus Iskandar and The Taming of the Shrew are underwritten by the Clarice Smith Series: New Directors for the Classics. Additional support for this production comes from the National Endowment for the Arts.
THE CAST
The Taming of the Shrew, Shakespeare’s notorious comedy about courtship, marriage and individuality, last seen on STC stages in the 2007–2008 Season, stars Maulik Pancholy as Katherina and Peter Gadiot as Petruchio. The cast also includes André De Shields as Gremio/Curtis/Vincentio, Drew Foster as Biondello, Rick Hammerly as Widow, Telly Leung as Lucentio, Gregory Linington as Grumio, Matthew Russell as Tranio, Tom Story as Hortensio, Oliver Thornton as Bianca, Bernard White as Baptista and James Crichton, Stephen Elrod, Jamison Foreman, Jackson Knight Pierce, Brian Reisman and Nicholas Yenson as the Ensemble.
Maulik Pancholy (Katherina) is best known for his roles as Sanjay Patel on Weeds and Jonathan on 30 Rock, in addition to many other voiceover, television, film and theatre credits, including his recent performance on Broadway in It’s Only a Play directed by Jack O’Brien.
Peter Gadiot (Petruchio) has appeared in the films The Forbidden Girl, Night Wolf and 13 Hours and the television show Once Upon a Time in Wonderland, in addition to many other television and stage productions. Gadiot will soon star in the highly-anticipated new television show Queen of the South.
Oliver Thornton’s (Bianca) West End theatre credits include Priscilla Queen of the Desert, the 40th anniversary production of The Rocky Horror Show, Children of Eden, Rent, The Phantom of the Opera, Les Miserables and Chicago.
Telly Leung’s (Lucentio) Broadway theatre credits include Allegiance, Godspell, Rent, Pacific Overture and Flower Drum Song.
Drew Foster (Biondello) has appeared on Broadway in Doctor Zhivago and Off-Broadway at the Public Theater, Cherry Lane, New York Theatre Workshop and Red Bull, as well as in the national tour of West Side Story.
Actors returning to STC are André De Shields (Gremio/Curtis/Vincentio), last seen on STC stages in Ghosts; Rick Hammerly (Widow), a participant in STC’s 2015–2016 Directors’ Studio and last seen in Volpone; Gregory Linington (Grumio) who has appeared in STC’s Othello, The Tempest and Tartuffe; STC Affiliated Artist Tom Story (Hortensio) who has appeared in numerous STC productions, most recently in the Free For All remount of The Winter’s Tale; and acting fellows Stephen Elrod, Jackson Knight Pierce and Brian Reisman who made their STC debuts in Ron Daniels’ Othello.
Rounding out the rest of the cast is Matthew Russell (Tranio), Bernard White (Baptista), James Crichton (Ensemble), Jamison Foreman (Ensemble) and Nicholas Yenson (Ensemble).
THE DIRECTOR
Ed Sylvanus Iskandar joins STC as the first in the Clarice Smith Series: New Directors for the Classics. Iskandar’s previous projects include the 2014 Drama Desk Award-winner The Mysteries, a collaboration with over 50 playwrights that reimagined the stories of The Bible over six hours. The Founding Artistic Director of theatre collective Exit, Pursued by a Bear, Iskandar has also hosted a series of labs and salons in his New York loft, featuring intimate performances and meals cooked by Iskandar himself. Combining theatre with food and community, Exit, Pursued by a Bear has become the talk of the New York theatre scene, utilizing a performance model as old as Homer and as radical as anything on stage today. While in New York, he has directed shows at myriad theatres including the Playwrights Realm, the National Asian American Theatre Company, The Flea Theater and The Play Company, as well as at his own collective. He is the winner of multiple awards including the Drama Desk Special Award for conception and direction of The Mysteries at The Flea Theater (in collaboration with 50+ playwrights) and The Golden Dragon at The Play Company, the National Theatre Conservatory Emerging Professional Award, the New York Theatre Workshop Emerging Artist Fellowship and the Drama League Directing Fellowship.
THE DESIGNERS
Iskandar brings a new and talented creative team to STC with Scenic Designer Jason Sherwood, Costume Designer Loren Shaw, Lighting Designer Seth Reiser, Sound Designer Jeremy S. Bloom, Choreography by Chase Brock, Music Supervisor/Arranger David Dabbon and Music Director Jody Schum.
Duncan Sheik is best known as the composer of the 2006 Broadway musical Spring Awakening, as well as a pop songwriter and performer. His recordings include Legerdemain (2015), Covers 80s (Sneaky Records, 2011), Whisper House (Sony, 2009), White Limousine (Rounder, 2006), Daylight (Atlantic Records, 2002), Phantom Moon (Nonesuch, 2001), Humming (Atlantic Records, 1998) and Duncan Sheik (RIAA Certified Gold, Atlantic Records, 1996). For his work on Spring Awakening, Sheik won Tony Awards® for Best Original Score and Orchestrations and a Grammy Award® for Best Musical Theater Album. His self-titled album Duncan Sheik also earned him a Grammy® nomination for Best Male Vocal.
THE ARTISTIC TEAM
The production team also includes Associate Costume Designer Dana Burkart and Assistant Lighting Designer Jimmy Lawlor. Iskandar is supported by Voice and Text Coaches Gary Logan and Ellen O’Brien, and assisted by Production Stage Manager Joseph Smelser and Assistant Stage Manager Robyn M. Zalewski. Craig Baldwin serves as Immersive Designer and Iskandar’s Assistant Director.
ABOUT THE SHAKESPEARE THEATRE COMPANY
Recipient of the 2012 Regional Theatre Tony Award®, the Shakespeare Theatre Company (STC) is the nation’s leading premier classical theatre company. Today, STC is synonymous with artistic excellence and making classical theatre more accessible to audiences in and around the nation’s capital.
Under the leadership of Artistic Director Michael Kahn and Executive Director Chris Jennings, STC’s innovative productions inspire dialogue that connects classic works to the modern human experience. The Company focuses on works with profound themes, complex characters and poetic language written by Shakespeare, his contemporaries and the playwrights he influenced in order to preserve and promote classic theatre—ambitious, enduring plays with universal themes—for all audiences.
A leader in arts education, STC has a stable of initiatives that teach and excite learners of all ages, from school programs and adult acting classes to accessible community programming like play-relevant discussion series and the Free For All. For the past 25 years the Free For All program has offered an annual remount of a popular production completely free of charge to all audience members.
Located in downtown Washington, D.C., STC performs in two theatres, the 451-seat Lansburgh Theatre and the 774-seat Sidney Harman Hall. In addition to STC productions appearing year-round, these spaces also accommodate presentations from outstanding local performing arts groups and nationally renowned organizations. The Company has been a fixture in the vibrant Penn Quarter neighborhood since 1992.
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https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5240854/
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Auditory verbal hallucinations and continuum models of psychosis: A systematic review of the healthy voice-hearer literature
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"David Baumeister",
"Ottilie Sedgwick",
"Oliver Howes",
"Emmanuelle Peters"
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2017-02-17T00:00:00
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Recent decades have seen a surge of research interest in the phenomenon of healthy individuals who experience auditory verbal hallucinations, yet do not exhibit distress or need for care. The aims of the present systematic review are to provide a comprehensive ...
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PubMed Central (PMC)
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https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5240854/
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Clin Psychol Rev. 2017 Feb; 51: 125–141.
PMCID: PMC5240854
PMID: 27866082
Auditory verbal hallucinations and continuum models of psychosis: A systematic review of the healthy voice-hearer literature
,a,⁎ ,a,b ,b,c and a,b
David Baumeister
aInstitute of Psychiatry, Psychology & Neuroscience, King's College London, Department of Psychology, London, UK
Find articles by David Baumeister
Ottilie Sedgwick
aInstitute of Psychiatry, Psychology & Neuroscience, King's College London, Department of Psychology, London, UK
bNIHR Biomedical Research Centre for Mental Health, South London and Maudsley NHS Foundation Trust, London, UK
Find articles by Ottilie Sedgwick
Oliver Howes
bNIHR Biomedical Research Centre for Mental Health, South London and Maudsley NHS Foundation Trust, London, UK
cInstitute of Psychiatry, Psychology & Neuroscience, King's College London, Department of Psychosis Studies, London, UK
Find articles by Oliver Howes
Emmanuelle Peters
aInstitute of Psychiatry, Psychology & Neuroscience, King's College London, Department of Psychology, London, UK
bNIHR Biomedical Research Centre for Mental Health, South London and Maudsley NHS Foundation Trust, London, UK
Find articles by Emmanuelle Peters
aInstitute of Psychiatry, Psychology & Neuroscience, King's College London, Department of Psychology, London, UK
bNIHR Biomedical Research Centre for Mental Health, South London and Maudsley NHS Foundation Trust, London, UK
cInstitute of Psychiatry, Psychology & Neuroscience, King's College London, Department of Psychosis Studies, London, UK
⁎Corresponding author at: Room 4.04, Addiction Sciences Building, Institute of Psychiatry, Psychology & Neuroscience, 4 Windsor Walk, SE5 8BB, UK.Institute of Psychiatry, Psychology & NeuroscienceRoom 4.04Addiction Sciences Building4 Windsor WalkSE5 8BBUK ku.ca.lck@retsiemuab.divad
Copyright © 2016 The Authors. Published by Elsevier Ltd.
This is an open access article under the CC BY license (http://creativecommons.org/licenses/by/4.0/).
Abstract
Recent decades have seen a surge of research interest in the phenomenon of healthy individuals who experience auditory verbal hallucinations, yet do not exhibit distress or need for care. The aims of the present systematic review are to provide a comprehensive overview of this research and examine how healthy voice-hearers may best be conceptualised in relation to the diagnostic versus ‘quasi-‘ and ‘fully-dimensional’ continuum models of psychosis. A systematic literature search was conducted, resulting in a total of 398 article titles and abstracts that were scrutinised for appropriateness to the present objective. Seventy articles were identified for full-text analysis, of which 36 met criteria for inclusion. Subjective perceptual experience of voices, such as loudness or location (i.e., inside/outside head), is similar in clinical and non-clinical groups, although clinical voice-hearers have more frequent voices, more negative voice content, and an older age of onset. Groups differ significantly in beliefs about voices, control over voices, voice-related distress, and affective difficulties. Cognitive biases, reduced global functioning, and psychiatric symptoms such as delusions, appear more prevalent in healthy voice-hearers than in healthy controls, yet less than in clinical samples. Transition to mental health difficulties is increased in HVHs, yet only occurs in a minority and is predicted by previous mood problems and voice distress. Whilst healthy voice-hearers show similar brain activity during hallucinatory experiences to clinical voice-hearers, other neuroimaging measures, such as mismatch negativity, have been inconclusive. Risk factors such as familial and childhood trauma appear similar between clinical and non-clinical voice-hearers. Overall the results of the present systematic review support a continuum view rather than a diagnostic model, but cannot distinguish between ‘quasi’ and ‘fully’ dimensional models. Healthy voice-hearers may be a key resource in informing transdiagnostic approaches to research of auditory hallucinations.
Highlights
•
Subjective perceptual experiences of voices appear similar in clinical and non-clinical groups.
•
Healthy voice-hearers hear voices less frequently, with less negative content, more perceived control and from an earlier age.
•
Healthy and clinical voice-hearers differ in beliefs about voices, voice-related distress, and affective difficulties.
•
Healthy voice-hearers show more cognitive biases, psychiatric symptoms and functional impairments than healthy controls.
•
Risk factors such as familial and childhood trauma appear similar between clinical and non-clinical voice-hearers.
1. Introduction
There is accumulating evidence that the experience of auditory verbal hallucinations (AVHs) is not uncommon in healthy individuals, and is not necessarily an indicator of psychopathology. A significant proportion of healthy individuals experience psychosis-like symptoms such as voice-hearing at some point in their lives; usually AVHs present as transient experiences, for example during childhood and adolescence, periods of bereavement or in the form of hypnagogic or hypnopompic false auditory perceptions (de Leede-Smith & Barkus, 2013). A recent meta-analysis estimated a median prevalence of 6% and median incidence of 1.2% of hallucinatory experience in the general population (Linscott & van Os, 2013). Notably, Linscott and van Os (2013) meta-analysis found that 20% of those who report psychotic experiences (including other phenomena such as delusional beliefs) go on to experience them persistently, 7.4% in the context of a psychotic disorder. These rates may be similar for AVHs specifically, as a recent cohort study of 1912 adolescents found that of the 5% who reported auditory hallucinations at baseline, they were still present in 27% two years later (De Loore et al., 2011). The term ‘healthy voice-hearers’ (HVHs) has been coined to describe individuals who experience persistent auditory verbal hallucinations, yet have no need for clinical care and do not suffer the significant distress this experience may cause in clinical populations (‘clinical voice-hearers’; CVHs). However, there remains uncertainty over how the two populations are related. The present systematic review aims to address such conceptual difficulties and provide a comprehensive overview of the currently available evidence.
The recent focus on AVHs in the healthy general population has arisen from a wider reconceptualization of psychosis and a shift from diagnostic to symptom-focused approaches. Classically, AVHs were defined as first-rank symptoms of schizophrenia (Schneider, 1959), as part of discrete, categorical models, i.e. those employed by diagnostic classification systems ( ; Model 1). However, these diagnostic models, although still employed in clinical practice, have been criticised for their lack of an empirical evidence-base (Bentall, 2003, Kaymaz and van Os, 2010, Linscott and van Os, 2010, Van Os, 2009). Transdiagnostic, symptom-focused approaches have been proposed both for psychosis (e.g., the transdiagnostic psychosis spectrum; van Os & Reininghaus, 2016) as well as wider mental health (e.g., the Research Domain Criteria project; Insel et al., 2010). AVHs are present in a range of mental health difficulties, including depression and anxiety, post-traumatic stress disorder, emotionally unstable personality disorder, and obsessive-compulsive disorder (Johns et al., 2014, Upthegrove et al., 2016, van Os and Reininghaus, 2016). Further, the impact and presentation of AVHs may differ within individuals in need for care, and there have been proposals to subtype AVHs in clinical research and practice (Smailes et al., 2015).
Conceptually, there has also been a marked shift from categorical models towards a continuum view of psychotic symptoms and anomalous experiences that extends not just across diagnostic categories but also into the (healthy) general population. This has long been proposed by researchers such as Claridge (1994) and Bentall (2003), and has gained considerable epidemiological support (Linscott and van Os, 2013, Linscott and van Os, 2010, van Os et al., 2009). According to the continuum model, HVHs are situated on a continuous dimension between CVHs and non-voice-hearing healthy individuals (healthy controls; HCs) in terms of their anomalous experiences, but without crossing the threshold for need for care. However, different conceptualisations of the continuum model exist in the literature (see ; Models 2 & 3). Claridge (1994), Claridge & Beech (1995) has differentiated between ‘quasi-dimensional’ ( ; Model 2) and ‘fully dimensional’ ( ; Model 3) models. In the former, the continuum describes disease severity; it is assumed that psychotic experiences and distress are part of the same dimensions and that psychotic experiences are ultimately indicative of a psychobiological abnormality but simply in attenuated form. It is further assumed that only a small proportion of the general population has a predisposition for such experiences. In a fully dimensional model, however, the continuum of anomalous experiences may be largely independent from the continuum of clinical distress or need for care, and makes no prediction regarding the outcome of psychotic experiences. The propensity for such experiences is distributed in the general population as part of normal individual differences and only in extreme forms necessitates care. Such a conceptualisation is more in line with viewing voice-hearers without need for care as being truly “healthy”, rather than merely “subclinical”.
However, these conceptualisations may still be over-simplistic (Kaymaz and van Os, 2010, Linscott and van Os, 2010). Linscott and van Os (2010) carried out a systematic review and meta-analysis of primarily epidemiological data on what they refer to as the ‘extended phenotype model’. Their results suggest that there is evidence for continuity of symptoms, based on the high incidence and prevalence rates of psychotic experiences in the general population compared to the actual rate of clinical psychotic disorders. However, they also found evidence for a dichotomous distribution of individuals who have a liability to schizotypal traits from individuals who do not. These mixed findings suggest the possibility that the psychosis continuum may encompass two latent, discontinuous subgroups, leading to a hybrid conceptualisation of quasi- and fully-dimensional models. Current evidence further suggests that psychosis is a complex multifactorial construct, with individual symptoms or characteristics: a) lying on individual continua (Russo et al., 2014, Van Os, 2009); b) showing differing prevalence rates and causal factors (Wigman et al., 2011b, McGrath et al., 2015); c) having differing implications for a need for care or clinical risk (Wigman et al., 2011b, Kaymaz et al., 2012); and d) demonstrating varying correlational or predictive relationships with other symptoms (Wigman et al., 2011a, Bell et al., 2008). Most recently, van Os & Reininghaus (2016) have proposed a transdiagnostic psychosis spectrum in which psychotic symptoms in the general population are continuous with clinical psychotic disorders, but can nonetheless present independently. This conceptualisation encompasses both specific psychosis factors (e.g., positive symptoms) as well as nonspecific associations with psychopathology (e.g., affective dysregulation), and the combination of these two underlying constructs then becomes critical in leading to a need for care.
In an editorial aiming to stimulate the continuum debate, David (2010) suggests that the continuum hypothesis should be taken as the null hypothesis, and the present review examines whether there is evidence to refute it in relation to AVHs specifically. The focus on AVHs allows investigation of the psychosis continuum in the context of a specific phenomenon of the psychosis dimension that presents both across health-pathology and across different types of pathology. Assessing whether the available research on HVHs has produced results congruent with the current evidence on the psychosis continuum can attest to its relevance and add to its validity. Indeed, Johns et al. (2014) call on research to investigate the role of the quasi- and fully-dimensional continua in AVHs in healthy individuals. In turn, the psychosis continuum models provide an important context to determine to what extent HVHs are “healthy” and are likely to remain so. For instance, whilst HVHs may present as currently healthy, the transdiagnostic extended phenotype model presented by van Os & Reininghaus (2016) notes the temporal continuity of psychotic experiences with clinical disorders, i.e., HVHs may be at greater risk of psychotic disorders long-term. Furthermore, examination of the relationships between AVHs in healthy populations and other symptom dimensions and characteristics relevant psychosis, such as affective difficulties, risk factors, or neurobiological substrates, may be valuable for the understanding of AVHs and need for care in clinical populations.
Whilst the reviewed continuum conceptualisations relate to psychosis or schizotypal personality traits across the wider population, rather than the specific phenomenon of auditory hallucinations, their relevance to AVHs in healthy individuals is inferred here. Similarly, whilst still relevant, many studies in the HVH literature were not carried out with the continuum hypothesis in mind and are thus integrated into an overarching framework to consider this literature. According to the diagnostic model, benign AVHs should be highly dissimilar as an experience to those found in CVHs, and HVHs and HCs should be indistinguishable on almost all parameters (e.g., risk factor exposure). According to the quasi-dimensional model, HVHs will be on a middle-point between CVHs and HCs on almost all parameters, including need for care and voice-distress. In such a model, increases in the occurrence of psychotic experiences would be associated with increased need for care. Lastly, a fully-dimensional model would predict that the occurrence of AVHs is largely unrelated to need for care, and HVHs should not be at greater risk of distress than HCs. Other parameters should vary at random. However, according to the more recent epidemiological conceptualisation of extended, transdiagnostic phenotypes with latent subgroups, the available evidence would be expected to support both quasi- and fully-dimensional models to a similar degree. Thus, the present review has two main hypotheses: firstly, the evidence will be incompatible with the diagnostic model; secondly, the evidence will provide support for both quasi- and fully-dimensional models, depending on methodology used and sample characteristics of the study.
Several narrative reviews have been published on AVHs in healthy populations (Badcock and Chhabra, 2013, Badcock and Hugdahl, 2012, de Leede-Smith and Barkus, 2013, Johns et al., 2014, Larøi, 2012). However, these tend to be broader (e.g. inclusive of prodromal populations), or more theoretical or narrow in their discussion (e.g. of neurocognitive mechanisms) than the focus of the present review. Moreover, by their narrative nature, they are more vulnerable to bias than the systematic approach undertaken here. The present systematic review aims to: give a comprehensive overview of the phenomenon of persistent AVHs in healthy adult populations; consider the evidence for models of the psychosis continuum in the context of AVHs; and identify areas where future research is needed.
2. Methods
2.1. Search strategy
A systematic review of the literature was performed using PsycINFO, EMBASE, and Medline for the subject headings “auditory hallucination*” and “voice hear*” cross-referenced separately with the terms “healthy”, “no need for care” and “non-clinical”. The literature review was performed in February 2016. Articles were limited to research in human participants, and published in English language. The initial search produced 230 on PsycInfo, 346 on Embase and 161 on Medline (see ). Additionally, 17 papers were identified through search of references in identified papers. One additional paper was identified through personal communication with the authors (Jacobsen et al., Under Review). The following criteria were used for exclusion and inclusion into the review:
Exclusion criteria:
•
Only voice-hearers with a clinical diagnosis of a psychotic disorder or other conditions associated with AVHs (e.g. PTSD, epilepsy)
•
Only hallucination-proneness assessed (e.g. Launay-Slade Hallucination Scale (LSHS; Launay & Slade, 1981) scores) and no reporting of current AVHs
•
Childhood and adolescent samples
•
General assessment of anomalous experiences only
•
Elicited hallucinatory experiences (e.g. signal detection tasks or through hypnosis)
•
Drug-induced hallucinations
•
Non-verbal hallucinations
Inclusion criteria:
•
Studies with a sample of individuals without clinical diagnoses who report hearing voices but no related distress
•
Articles published in English language
2.2. Selection
After exclusion of duplicates, articles not published in English language, and studies not including human participants, 398 article titles and abstracts were scrutinised for inclusion into the review. Seventy appropriate articles were identified for full-text analysis, of which 36 met criteria for inclusion. Full-text analysis and data extraction were carried out independently by two authors (DB & OS), and any inconsistencies were discussed until consensus was reached. Notably, several of the identified studies (from the Dutch (Utrecht) group, marked in ) included the same or overlapping samples, however often with slightly different numbers of participants and different main outcome measures. Ineligible articles (n = 34) were excluded for the following reasons: only hallucination proneness/anomalous experiences measured (n = 17); only elicited hallucinations measured (n = 10); adolescent sample (n = 3); only assessment of non-wakeful hallucinations (n = 1); hallucinations in epilepsy sample (n = 1); no stratification for need for care (n = 2) (see ). Studies where samples were selected purely on the basis of proneness to hallucinations (e.g., using a total score on the LSHS) were excluded as such measures may include a) non-AVH hallucinations and b) transient experiences. However, studies that used individual AVH-specific LSHS items (e.g., “In the past I have had the experience of hearing a voice and then found no one was there”) as part of their inclusion criteria were included (see ), if they satisfied the criterion of ‘reporting of current AVHs’.
Table 2
StudySampleGroup characteristicsAVH SelectionMean AgeGender
(% female)Measures
1.
22 CVHs
21 HVHsCVHs were recruited from mental health services, HVHs were recruited from spiritualist sources. Psychiatric status in HVHs was not formally assessed and meeting criteria for a psychiatric diagnosis was not amongst the exclusion criteria. Anyone with an organic condition that may cause AVHs was excludedParticipants were self-selcted for experiencing “clairaudience”. Presence of AVHs was assessed via PSYRATS but was not a formal part of selection procedures.CVHs: 39.6
HVHs: 50.7CVHs: 40.9
HVHs: 71.4
-
Psychotic Symptoms Rating Scale Auditory Hallucinations Subscale
-
Beliefs About Voices Questionnaire – Revised
-
Post-traumatic Diagnostic Scale
-
Impact of Events Scale
-
Beck Anxiety Inventory
-
Beck Depression Inventory - II
2.
84 CVH
69 HVH (collapsed sample)Clinical status was assigned by stratifying for mental health service contact.Self-selected individuals who responded to having “heard voices that no one else can hear”.48.0166.01
-
Hearing Voices Questionnaire
-
Qualitative interview
3.
101 HVH
101 HCAs Daalman, Boks et al., 2011aAs Daalman, Books et al., 2011an/an/a
-
Stroop Color-Word Task
-
WAIS-III
-
Childhood Trauma Questionnaire
4.
15C-CVH
14 NR-CVH
20C-HVHHVH-Cs were recruited from churches. They were not formally assessed for psychiatric status. CVHs were recruited from mental health services.Participants were included if they endorsed the LSHS item “In the past I have had the experience of hearing a voice and then found no one was there”.CVH-C: 41.8
CVH-NR: 41.0
HVH-C: 52.7CVH-C: 20.0
CVH-NR: 21.0
HVH-C: 60.0
-
Launay-Slade Hallucination Scale
-
Topography of Voices Rating Scale
-
Affective Experiences Questionnaire
-
Cognitive Assessment of Auditory Hallucinations (supplemented with questions for religious belief and interpretation)
5.
118 CVH
111 HVHHVHs were excluded if they met criteria for a DSM-IV diagnosis other than depressive or anxiety disorders in complete remission. Individuals were screened for illegal substance use via urine samples, and alcohol or drug abuse in the last 3 months led to exclusion. HVHs were recruited online, CVHs were recruited from mental health services. CVHs consisted of patients with schizophrenia, schizoaffective disorder and psychosis not otherwise specified.Participants were initially screened with LSHS items concerning having heard a person's voice when no-one was there and having been troubled by voices in their head. Voices had to be distinct from thoughts and have a perceptual quality, minimum frequency for AVHs in HVHs was once per month and minimum duration since onset was 1 year.CVH: 36.6
HVH: 41.5CVH: 40.0
HVH: 71.0
-
Psychotic Symptoms Rating Scale Auditory Hallucinations Subscale
-
Structured Clinical Interview for DSM-IV II - Personality Disorders
-
Comprehensive Assessment of Symptoms and History
6.
101 HVH
101 HCAs in Daalman, Boks et al. 2011. All participants had an IQ of 80 or above.As Daalman, Boks et al., 2011, except minimum frequency of AVH was once every 3 months for at least 1 year.HVH: 43.8
HC: 43.3HVH: 66.3
HC: 70.3
-
Psychotic Symptoms Rating Scale Auditory Hallucinations Subscale
-
Stroop Color-Word Task
-
Wechsler Adulthood Intelligence Scale III subtasks (backward digit span-task, forward digit span-task, vocabulary test, similarities test)
-
California Verbal Learning Test
-
Complex Figure of Rey-Osterrieth
-
Controlled Oral Word Association Test
-
Semantic Fluency Test
-
National Adult Reading Test
-
Raven's Advanced Progressive Matrices
-
Structured Clinical Interview for DSM-IV II - Personality Disorders
-
Comprehensive Assessment of Symptoms and History
7.
40 CVH
40 HVH
40 HCAs Daalman, Boks et al., 2011As Daalman, Boks et al., 2011CVH: 37.6
HVH: 47.6
HC: 45.0CVH: 47.5
HVH: 60.0
HC: 55.0
-
Psychotic Symptoms Rating Scale Auditory Hallucinations Subscale
-
Launay-Slade Hallucination Scale
-
Semantic Expectation Task
-
Structured Clinical Interview for DSM-IV II - Personality Disorders
-
Comprehensive Assessment of Symptoms and History
8.
100 CVH
127 HVH
124 HCAs Daalman, Boks et al., 2011As Daalman, Boks et al., 2011CVH: 38.0
HVH: 42.4
HC: 43.1CVH: 56.0
HVH: 67.7
HC: 67.7
-
Psychotic Symptoms Rating Scale Auditory Hallucinations Subscale
-
Childhood Trauma Questionnaire
-
Structured Clinical Interview for DSM-IV II - Personality Disorders
-
Comprehensive Assessment of Symptoms and History
9.
72 CVH
72 HVH
72 HCAs Daalman, Boks et al., 2011As Daalman, Boks et al., 2011, except minimum frequency of AVH was once every 3 months for at least1 year.CVH: 39.7
HVH: 47.6
HC: 45.1CVH: 54.2
HVH: 69.4
HC: 72.2
-
Psychotic Symptoms Rating Scale Auditory Hallucinations Subscale
-
Cognitive Biases Questionnaire for Psychosis
-
Structured Clinical Interview for DSM-IV II - Personality Disorders
-
Comprehensive Assessment of Symptoms and History
10.
81 HVH
49 HCAs Daalman, Boks et al., 2011; 5-year follow-up (thus healthy status may not apply)As Daalman, Boks et al., 2011n/an/a
-
Psychotic Symptoms Rating Scale Auditory Hallucinations Subscale
-
Comprehensive Assessment of Symptoms and History
11.
18 CVH
17C-HVH
12C-HC
15 NR-HVH
40 NR-HCEvangelical groups reported being born-again Christians or members of evangelical Christian churches, and reported no previous treatment for mental illness. No evangelical Christians were in the CVH group. All CVHs had a diagnosis of schizophrenia.Participants were included in voice-hearer groups if they endorsed the LSHS item “In the past I have had the experience of hearing a voice and then found no one was there”.CVH: 32.6
E: 33.3
NR: 33.0CVH: 61.1
E: 69.0
NR: 63.6
-
Launay-Slade Hallucination Scale
-
Affective Experiences Questionnaire
-
Perceptions of Voices Questionnaire
12.
35 CVH
35 HVH
36 HCAs Daalman, Boks et al., 2011
CVH group reported AVH at least once an hour.As Daalman, Boks et al., 2011CVH: 39.6
HVH: 42.1
HC: 41.4CVH: 60.0
HVH: 62.9
HC: 61.1
-
Psychotic Symptoms Rating Scale Auditory Hallucinations Subscale (items for frequency, emotional valence, distress and control)
-
Positive and Negative Syndrome Scale
-
Global Assessment of Functioning Scale
-
Schizotypal Personality Questionnaire (HVH & HC only)
-
Diffusion Tensor Imaging
-
Magnetisation Transfer Imaging
-
Comprehensive Assessment of Symptoms and History
-
Edinburgh Handedness Inventory
13.
35 CVH
35 HVH
35 HCAs Daalman, Boks et al., 2011As Daalman, Boks et al., 2011CVH: 43.6
HVH: 44.3
HC: 41.7CVH: 68.6
HVH: 68.6
HC: 65.7
-
Psychotic Symptoms Rating Scale Auditory Hallucinations Subscale
-
Positive and Negative Syndrome Scale
-
Global Assessment of Functioning Scale
-
BOLD fMRI during paced verbal fluency task
-
Structured Clinical Interview for DSM-IV II - Personality Disorders
-
Comprehensive Assessment of Symptoms and History
-
Schizotypal Personality Questionnaire
14.
21 CVH
21 HVHAs Daalman, Boks et al., 2011As Daalman, Boks et al., 2011CVH: 34.0
HVH: 46.5CVH: 81.0
HVH: 76.2
-
Psychotic Symptoms Rating Scale Auditory Hallucinations Subscale
-
Positive and Negative Syndrome Scale
-
Global Assessment of Functioning Scale
-
Schizotypal Personality Questionnaire
-
BOLD fMRI during AVHs (indicated by balloon squeezes)
-
Structured Clinical Interview for DSM-IV II - Personality Disorders
-
Comprehensive Assessment of Symptoms and History
15.
25 HVH
25 HCAs Daalman, Boks et al., 2011As Daalman, Boks et al., 2011aHVH: 41.6
HC: 39.8HVH: 72.0
HC: 72.0
-
Global Assessment of Functioning Scale
-
Schizotypal Personality Questionnaire
-
BOLD fMRI during resting-state
-
Structured Clinical Interview for DSM-IV II - Personality Disorders
-
Comprehensive Assessment of Symptoms and History
16.
19 HVH
102 HCMental health practitioners.Convenience sample was assessed on the prevalence of psychotic symptoms using the PSYRATS––
-
Hospital Anxiety and Depression Scale
-
Psychotic Symptoms Rating Scale
17.
20 CVH
20 HVH
20 HCHVHs were recruited from spiritualist sources and opportunity sampling, CVHs were recruited from mental health services, HCs were recruited via opportunity sampling. None of the HVHs or HCs had a psychiatric diagnosis or were receiving treatment.Presence of AVHs was assessed via PSYRATS.CVH: 36.2
HVH: 39.2
HC: 37.4CVH: 65.0
HVH: 60.0
HC: 50.0
-
Positive and Negative Syndrome Scale
-
Psychotic Symptoms Rating Scale Auditory Hallucinations Subscale
-
Meta-Cognitive Questionnaire (Short Version)
18.
33 CVH
15 HVHHVHs were included if they had no previous psychiatric history. CVHs were recruited from mental health services, HVH were recruited via opportunity sampling and voice-hearer groups.CVHs had to have persistent AVHs over the last 6 months, HVHs not specified.CVH: 38.4
HC: 56.0CVH: 75.6
HC: 73.0
-
Semi-structured interview covering characteristics of voices, history of voices, triggers, interpretations of voices, coping strategies and traumatic life events
-
Dissociative Experience Scale
-
Composite International Diagnostic Interview
19.
16 HVH
16 HCAs Daalman et al., 2011aAs Daalman et al., 2011aHVH: 43.9
HC: 42.8HVH: 68.8
HC: 62.5
-
Peters Delusion Inventory
-
Psychotic Symptoms Rating Scale
-
Schizotypal Personality Questionnaire
-
Global Assessment of Functioning Scale
-
[18F]-DOPA Positron Emission Tomography
-
Structured Clinical Interview for DSM-IV II - Personality Disorders
-
Comprehensive Assessment of Symptoms and History
20.
39 CVH
35 HVH
77 HCCVHs were recruited from two UK sites; HVHs were recruited as part of the wider UNIQUE study (see Peters et al., 2016).Voice-hearers reported at least occasional voices on the Scale for the Assessment of Positive SymptomsCVH: 41
HVH: 45
HCs: 45CVH: 36
HVH: 74
HCs: 69
-
Autobiographical Memory Task
-
Appraisals of Anomalous Experiences interview
-
Scale for the Assessment of Positive Symptoms
-
WAIS-III
-
BDI-II
21.
30 CVH
140 HVH
2359 HCSwedish population cohort; 8000 contacted of whom 2533 responded with questionnaire dataTwo LSHS items were used: “In the past I have had the experience of hearing a person's voice and then found that there was no-one there”and “I often hear a voice speaking my thoughts aloud”. Those who answered yes to both items were asked additional questions about voice characteristics.CVH: 44.3
HVH: 42.2
HCs: 52.1CVH: 43.3
HVH: 62.9
HCs: 54.3
-
Launay-Slade Hallucination Scale
-
Hospital Anxiety and Depression Scale
-
Additional questions regarding stressful life events, voice phenomenology and mental health problems
22.
8 CVH
8 HVH
8 HCHVHs were recruited via opportunity sampling. Individuals with sleep-related hallucinations were excluded, so were those with psychiatric treatment.HVHs were characterised by either hearing voices when no one is around, or hearing their own thoughts as voices.CVH: 31.1
HVH: 39.3
HC: 36.3CVH: 62.5-
HVH: 62.5
HC: 87.5
-
Psychotic Symptoms Rating Scale
-
fMRI
-
Consonant-vowel Dichotic Listening Task
-
Hughson-Westlake Audiometric Test
23.
184 HVH
71 CVH (external sample)HVH individuals were only included if they had not sought psychiatric help for their voices, or heard voices when under the influence of substances.Individuals were included if they reported currently hearing voices or having heard voices in the past.HVH: 34.5
CVH: -HVH: 68.5
CVH: -
-
Hospital Anxiety and Depression Scale
-
Beliefs about Voices Questionnaire – Revised
-
Topography of Voices Rating Scale (3 items only)
24.
14 CVH
14 HVHNone of the HVHs were in contact with psychiatric services. Formal screening for psychiatric symptoms was not possible. Most HVHs were occasional cannabis users. CVHs were schizophrenia patients recruited from mental health services.HVHs reported hearing voices in an on-going survey.CVH: 31.7
HVH: 22.9CVH: 35.71
HVH: 57.14
-
Structured Interviews
25.
7 HVH
7 HCsParticipants had no history of psychiatric or neurological illness and were recruited via opportunity sampling.Recruitment occurred via self-reports, AVHs were assessed with PANSS.HVH:45.0
HCs: 31.0HVH: 71.4
HCs: 71.4
-
Positive and Negative Syndrome Scale
-
Beliefs about Voices Questionnaire
-
BOLD fMRI during AVHs (indicated by button press)
26.
46 CVH
17 HVH
69 CNVH
38 HC
(partially collapsed samples)Of the CVHs and CNVHs, 45 had schizophrenia, 60 had OCD. Individuals were classified as HCs and HVHs if they denied the presence of any psychiatric illness and contact with any mental health services.AVHs were assessed as having heard voices when no-one was around.GP: 35.6
OCD: 32.7
SZ: 35.9GP: 65.5
OCD: 61.7
SZ: 46.7
-
Yale-Brown Obessive Compulsive Scale
-
Community Assessment of Psychic Experiences
-
Interview assessment
-
Launay-Slade Hallucination Scale
27.
92 PE
84 CPE
83 HCStudy recruited healthy individuals with psychotic experiences (PEs), who were assessed as having no need for care and no previous diagnosis for a psychotic disorder.Voice-hearing was assessed using the Scale for the Assessment of Positive Symptoms. Analysis on voice-hearing was carried out only in relation to Southampton Mindfulness Questionnaire.PE: 46
CPE: 42
HC: 46PE: 72.8
CPE: 34.5
HC: 68.7
-
Scale for the Assessment of Positive Symptoms
-
Southampton Mindfulness Questionnaire
28.
Slotema et al., 2012*
38 BPD-CVH
51 SZ-CVH
66 HVHAs Daalman et al., 2011aAs Daalman et al., 2011aBPD-CVH: 34.0
SZ-CVH: 37.0
HVH: 37.0BPD-CVH: 100.0
SZ-CVH: 100.0
HVH: 100.0
-
Structured Clinical Interview for DSM-IV II - personality disorders
-
Comprehensive Assessment of Symptoms and History
-
Psychotic Symptoms Rating Scale - Auditory Hallucinations
29.
103 HVH
60 HCAs Daalman et al., 2011aAs Daalman et al., 2011aHVH: 44.0
HC: 46.0HVH: 70.8
HC: 70.0
-
Comprehensive Assessment of Symptoms and History
-
Psychotic Symptoms Rating Scale - Auditory Hallucinations
-
Launay-Slade Hallucination Scale
-
Global Assessment of Functioning Scale
-
Structured Clinical Interview for DSM-IV II - personality disorders
-
Schizotypal Personality Questionnaire
-
Peters Delusion Inventory
-
Revised NEO Personality Inventory
-
Childhood Trauma Questionnaire
30.
40 CVH
40 HVH
50 HCAs Daalman et al., 2011aAs Daalman et al., 2011aCVH: 40.0
HVH: 41.0
HC: 44.0CVH: 48.0
HVH: 62.0
HC: 70.0
-
Comprehensive Assessment of Symptoms and History
-
Launay-Slade Hallucination Scale
-
Structured Clinical Interview for DSM-IV II - personality disorders
-
Schizotypal Personality Questionnaire
-
Peters Delusion Inventory
-
Thought and Language Index
-
Thematic Apperception Test
-
Global Assessment of Functioning Scale
31.
32 CVH
18 HVHParticipants were excluded if they heard voices due to an organic illness or substance misuse. CVHs were recruited from mental health services. HVHs were excluded if they currently had contact with mental health services in relation to voice-hearing.Individuals heard voices for at least 6 months.CVH: 38.1
HVH: 54.3CVH: 41.0
HVH: 67.0
-
Psychotic Symptoms Rating Scale
-
Voice and You Questionnaire
-
Beliefs about Voices Questionnaire – Revised
-
Beck-Depression Inventory - II
32.
6 HVHParticipants were included if they reported no frequent distress and reported no contact with mental health services in relation to their voice experiences. Participants were self-identified mediums.Self-reported “clairaudience” or hearing the voices of spirits was taken as a proxy for AVHs.48.566.7
-
Qualitative Interviews
33.
18 HVH
18 HCAs Daalman et al., 2011aAs Daalman et al., 2011aHVH: 42.8
HC: 43.8HVH: 83.3
HC: 83.3
-
Comprehensive Assessment of Symptoms and History
-
Structured Clinical Interview for DSM-IV II - personality disorders
-
Schizotypal Personality Questionnaire
-
Peters Delusion Inventory
-
EEG - auditory oddball paradigm
34.
50 CVH
50 HVH
50 HCAs Daalman et al., 2011As Daalman, Bolts et al., 2011CVH: 39.9
HVH: 40.8
HC: 40.5CVH: 62.0
HVH: 62.0
HC: 62.0
-
Comprehensive Assessment of Symptoms and History
-
Structured Clinical Interview for DSM-IV II - personality disorders
-
Positive and Negative Syndrome Scale
-
Schizotypal Personality Questionnaire
-
Global Assessment of Functioning Scale
-
MRI
35.
18 HVH
22 CVHRecruitment sources not clearHVHs were individuals with no current or past mental health difficulties. CVHs had previously received diagnoses.CVH: 37.8
HVHs: 39.9CVH: 45.5
HVH: 38.9
-
Psychotic Symptoms Rating Scale
-
Cognitive Assessment of Voices Interview
-
Modified Goals Task
36.
26 HVH
127 CVHOnline questionnaire; anyone hearing voices was free to participate. Some subgroup analyses were carried out in relation to whether individuals had received mental health care.Participants were included if they reported hearing voices.n/a; range 16–8465.4
-
Self-reported qualitative questionnaire comprising 13 items
Study characteristics are presented in . The results presented below are organized with a focus on specific characteristics that have emerged from the literature, rather than by their congruence with the explanatory models evaluated here, which is returned to in the discussion. The structure of the results is aimed at aiding the reader interested in discrete aspects of HVH research, and improving reading experience and accessibility. Results are presented by the following characteristics: voice phenomenology, their impact and appraisal, mood disturbances, impairment and functioning, related psychotic phenomena, cognitive functioning, neuroimaging, trauma exposure and familial risk.
3. Results
3.1. Methodology
Out of the 36 studies reviewed, 17 were drawn from the Dutch (Utrecht) sample of HVHs, comparing them to HCs and/or CVHs (studies from this cohort are marked with an asterisk). These studies employed the same selection and screening criteria, which were amongst the most stringent (see ). Although these studies generally had different main outcomes, some of the basic data such as voice phenomenology were assessed in samples recruited from the same cohort, albeit with slightly different participant numbers in each. Therefore separate publications may report the same finding, confounding any cumulative strength of evidence by the shared participants across studies. Nevertheless, these studies had different clinical and/or healthy control samples, and did not always report the same results on the same measure. Therefore they are still reported as individual findings, but with an indication (*) that they belong to one cohort (see , ).
Table 3
StudyDurationFrequencyLoudnessLocationBeliefs of OriginNumber of VoicesNegative Voice Content/ValenceControlDisruptionAndrew et al., 2008↓↓↓=––↓↑–Cottam et al., 2011–↓↓––––––Daalman, Boks et al., 2011*↓↓==↑ external↓ 3rd person↓↑–Daalman et al., 2012*↓↓==↑ external–↓↑–Daalman, Verkooijen et al., 2012*↓↓=–↑ external–↓↑–Daalman et al., 2013*↓↓==↑ external–↓↑↓Davies et al., 2001–↓–––––––de Weijer et al., 2013*–↓––––↓↑–Diederen et al., 2010*↓↓==↑ external↓↓↑–Diederen et al., 2012*= during scanning↓====↓↑–Hill et al., 2012*======↓=↓Honig et al., 1998↓↓–=–↓ 3rd person↓↑↓Kråkvik et al., 2015–↓––––↓–↓Leudar et al., 1997–––↑ inside head––↓––Moritz & Larøi, 2008†––↑––––=↓Slotema et al., 2012*↓↓==↑ external–↓↑↓Sommer, Derwort et al., 2010*–↓–––––––Sorrell et al., 2010––––––↓––
Sample sizes differed considerably depending on methodology employed across all 36 studies. As would be expected, studies relying largely on questionnaire-based data had larger sample sizes than studies using neuroimaging or qualitative assessments. Although a priori matching across samples for at least one variable occurred in a sizeable minority of studies, primarily handedness, gender and/or age, several studies reported that samples did not match on education. Moreover, it should be noted that both CVH and HVH within and between individual studies are likely to show considerable degrees of heterogeneity, both due to differences in recruitment strategies and sources, as well as differing diagnoses in CVHs.
3.2. Phenomenology
Twenty-seven of the reviewed studies reported on the phenomenology of voices in some capacity, 14 of which were from the same cohort. Phenomenological similarities and differences in AVH are presented in , and summarised below, in a subset of 17 studies that compared the major phenomenological characteristics of AVHs in HVHs and CVHs. Finally, Daalman et al. (2016*) report that AVHs in non-clinical samples show a high level of persistence, with continued experience of AVHs in 86.4% of their sample at 5-year follow-up.
3.2.1. Age of onset
Five out of six publications comparing age of AVH onset reported an earlier age in HVHs than CVHs (Daalman et al., 2011, De Weijer et al., 2013, Honig et al., 1998, Sorrell et al., 2010), with age of onset in HVHs typically occurring between late childhood and early adolescence (Daalman et al., 2011, Linden et al., 2011, Sommer et al., 2010a, van Lutterveld et al., 2010). However, Kråkvik et al. (2015) did not find a significant difference in age of onset between CVHs and HVHs.
3.2.2. Frequency and duration of voices
Fourteen out of 15 studies reported a lesser frequency of voice-hearing in HVHs, with only one study failing to find a significant difference. Similarly, eight out of ten studies reported a lesser duration of hallucinatory episodes in HVHs, although two found no difference between HVHs and CVHs.
3.2.3. Perceptual qualities
Eleven studies compared the loudness of voices between HVHs and CVHs, with 8 finding no significant difference, two reporting quieter voices and one reporting louder voices in HVHs. Similarly, in 10 studies all but one reported that the perceived location of voices did not differ between HVHs and CVHs, with only one reporting that HVHs were more likely to perceive them as located inside the head (Leudar, Thomas, McNally, & Glinski, 1997). There is some evidence that HVHs perceive their voices with less clarity than CVHs (Cottam et al., 2011, Lawrence et al., 2010), but similar rates report their voices as indistinguishable from real voices (Moritz & Larøi, 2008).
3.2.4. Voice identities
Three out of four studies reported that HVH heard fewer different voices, particularly those commenting in the 3rd person. The majority of HVHs appear to hear one voice, although a sizeable minority hear multiple voices, with more than 10 in 5.4% of HVHs (Lawrence et al., 2010). According to Sommer, Daalman et al. (2010*) 18% of HVHs reported commenting voices, and 11% heard voices speaking with each other; similarly, Peters et al. (2016) reported fewer commenting or conversing voices in HVHs compared with CVHs. Leudar et al. (1997) reported that both CVHs and HVHs are addressed by voices directly, and voices commonly sound like individuals known to the voice-hearers; whilst voices in the clinical group are more frequently those of public figures or supernatural characters, HVHs are more likely to identify voices as similar to themselves or family members (Leudar et al., 1997). However, Kråkvik et al. (2015) found no differences in the voice identities reported by CVHs and HVHs. Further, Sorrell et al. (2010) reported that gender and identity of AVHs does not appear to differ between groups. Religious groups more frequently identified their voices to be religious entities, however HVHs more often heard “God” and rarely “the Devil”, whilst CVHs more often heard “the Devil” but rarely “God” (Cottam et al., 2011).
3.2.5. Content
Of the 14 studies comparing HVHs and CVHs, all reported lower levels of negative voice content and emotional valence in HVHs. Indeed, in one sample 71% of HVHs had never experienced negative voice content (Sommer, Daalman et al., 2010*). Similarly, voices in religious HVHs mostly have mixed or neutral content, whereas religious CVHs mostly hear mixed and negative content (Cottam et al., 2011). However, Beavan and Read (2010) found that, in a sample of CVHs and HVHs that were not formally stratified by clinical status, no participants had experienced positive voice content only. In a small qualitative study, Leudar et al. (1997) found that directive voices in CVHs frequently issued commands to carry out specific actions or violent acts, but in HVHs they more commonly “gave advice” on a particular course of action or mundane activities. HVHs heard significantly fewer negative evaluative comments about themselves, including their own thoughts (Honig et al., 1998), but heard significantly more comments evaluating others. This was also reported in the larger sample of Kråkvik et al. (2015), where HVHs were less likely to hear voices commenting on them. Whilst there was no difference in commanding voices, CVHs were more compliant with and swayed by commands. Interestingly, Varese, Tai, Pearson, and Mansell (2016) identified personal goals (e.g., being a confident person) as a substrate of voice content: in the majority of both CVHs and HVHs, personal goals of participants matched the content of the voices they experienced.
3.3. Voice impact and appraisal
3.3.1. Distress and control
As would be expected, out of the 23 studies investigating distress all reported that voice-hearing in HVHs was associated with little to no voice-related distress, and/or that voice distress was significantly higher in CVHs. Comparing HVHs and CVHs, 10 studies found that HVHs reported greater control over voices, with only two studies finding the same level of control in HVHs and CVHs. Indeed, one study reported that healthy status was significantly predicted by high control over voices, low frequency of voices, age of onset before age 16, and predominantly positive voice content (Daalman et al., 2011, Daalman et al., 2011). Need for control and low perceived control were also found to predict voice-distress by Hill, Varese, Jackson, and Linden (2012), whilst Beavan and Read (2010) reported that negative emotional responses were predicted by negative voice content, more voices talking or arguing with each other, commenting on the individual, talking for longer periods, and taking over thoughts of the individual (Beavan & Read, 2010), as well as disturbing contact with others (Kråkvik et al., 2015). CVHs are significantly more afraid of voices than HVHs, and see voices as troublesome and disturbing daily life (Honig et al., 1998). Interestingly however, one study indicated that despite negative elicited emotions being more likely to be reported by the CVH group, there was no significant difference in positive emotions elicited by AVHs in CVHs and HVHs (Kråkvik et al., 2015). Nonetheless, more than 90% of HVHs report no disturbance to their life by AVHs (Sommer, Daalman et al., 2010*), and all six studies comparing the disruptive impact of voices between HVHs and CVHs reported less disruption in HVHs.
3.3.2. Beliefs about voices
Out of the eight studies comparing beliefs of origin between HVHs and CVHs, six found that HVHs were more likely to attribute the voices to external origins, whereas two found no significant difference between the groups. All of the six studies assessing beliefs about voices indicate that HVHs have significantly less negative beliefs about voices, which is associated with more positive voice impact. Hill et al. (2012) reported that CVHs scored higher than HVHs on negative beliefs about worry and need for control of thoughts. Voice-related distress was significantly associated with negative beliefs about uncontrollability and danger of voices. Lawrence et al. (2010) found that, compared to scores from a previously published sample of CVHs, HVHs had significantly lower beliefs of malevolence, omnipotence and resistance towards voices, but higher scores of benevolence and engagement with voices. Levels of distress correlated with malevolence, omnipotence and resistance. Higher frequency was associated with higher levels of depression, anxiety, malevolence, omnipotence and resistance. Andrew, Gray, and Snowden (2008) found that CVHs were more likely to appraise their voices as malevolent, which was predictive of depressive symptoms, and were more likely to use resistant coping strategies. Similarly, Kråkvik et al. (2015) found that CHVs were more likely to try to actively ignore voices, including command hallucinations (Leudar et al., 1997), and to try to understand them or argue with them, whilst a greater proportion of HVHs than CVHs were likely to do nothing in response to AVHs. Further, CVHs who begged voices to keep silent reported increased AVH intensity (Kråkvik et al., 2015). In turn, Peters et al. (2016) reported that HVHs were more likely to be accepting of their voices, and adopt a mindful response style compared with CVHs. Qualitative data suggest that in HVHs, the initial reaction is marked by resistance, which is associated with increased intrusiveness, but eventually engagement (i.e. understanding and acceptance of experience) mitigates distress (Taylor & Murray, 2012). Sorrell et al. (2010) reported that HVHs related to their voices with less distance. Voice dominance, intrusiveness and hearer distance were significantly correlated with distress. However when controlling for beliefs of malevolence and omnipotence, the association of distress and relating variables lost significance. Recently, Daalman et al. (2016*) provided evidence that attitudes towards AVHs can be susceptible to fluctuations, with beliefs about voices changing in 15.7% of HVHs at a 5-year follow-up.
3.3.3. Spiritual frameworks
All four studies reporting on spiritual or religious frameworks showed that these are more frequently employed by HVHs, with generally positive perceived impact. Daalman, Boks et al. (2011*) reported that HVHs more frequently endorsed unspecific external or spiritual explanations, whereas CVHs more frequently explained voices to be other (living) people, god, demons/devil or implanted devices. In their comparison of religious HVHs to religious and non-religious CVHs, Cottam et al. (2011) found that religious HVHs more often experienced AVHs as a positive but never a negative power, whereas most clinical participants (both religious and non-religious) appraised them as a negative power. Similar findings were reported by Davies, Griffin, and Vice (2001), with religious HVHs having significantly more positive perceptions of voices than non-religious HVHs and CVHs, respectively. In a qualitative study of HVHs recruited as psychic mediums, initial voice distress was mitigated by engagement with voices and integration into a spiritual framework (Taylor & Murray, 2012).
3.4. Mood disturbances
Three studies formally assessed mood disturbances in HVHs, comparing them to CVHs but not to HCs, with all three finding higher rates of emotional difficulties in the CVHs. Andrew et al. (2008) reported greater rates of depression and anxiety in CVHs compared with HVHs. Similarly, Sorrell et al. (2010) reported significantly greater depression scores in CVHs than HVHs. Lawrence et al. (2010) found that scores for anxiety and depression were significantly lower in HVHs than for 71 CVHs in an external study sample. However, a number of studies (see ) stipulated an absence of diagnosable affective disturbances as part of their inclusion criteria for HVHs. Nevertheless, Sommer, Daalman et al. (2010*) additionally reported on previous single or recurrent depressive episodes in full remission, and found that HVHs and HCs did not differ in their prevalence. The only study that compared depressive and anxiety symptoms in CVHs, HVHs and HCs reported significant group differences between all groups (Kråkvik et al., 2015) with CVHs having the highest scores and HCs having the lowest scores. Indeed, the HVHs in this sample were also significantly more likely than HCs (but less likely than CVHs) to have consulted a professional or received treatment for mental health problems unrelated to voice-hearing, and there is evidence that AVHs are associated with anxiety in the general population (Fleming & Martin, 2009). Woods, Jones, Alderson-Day, Callard, and Fernyhough (2015)’s survey data showed that voice-hearers who had not previously received a psychiatric diagnosis were less likely to associate their voices with fear or depression. Most recently, Daalman et al. (2016*) provided 5-year follow-up data on the mental health of their sample of HVHs as well as HCs. Eighty-one individuals with AVHs and 49 HCs were included, representing 78.6% and 81.7%, respectively, of the original participants. Five individuals with AVHs had transitioned to psychosis yet none of the HCs had developed psychosis. This difference was only at trend-level, and disappeared when individuals with previous depressive episodes who were in remission at baseline were excluded. However, they also found that 39.5% of their previously healthy voice-hearers had developed the need for mental healthcare, significantly more than the 12.2% of the healthy control group, even after exclusion of individuals with depression in remission at baseline. Regression analyses revealed that this need for mental healthcare was predicted by total distress of AVHs and depression in remission, but not global functioning, schizotypy, familial psychosis, childhood trauma, or AVH frequency, control, emotional valence or age of onset.
3.5. Impairment and functioning
Seven of the identified studies, all of which stem from the same Dutch cohort, reported on the potential impairment of HVHs, suggesting some impairments in global functioning that may be lesser than those of CVHs, yet greater than in HCs. Sommer, Daalman et al. (2010*) found that global functioning was significantly lower in HVHs than HCs, and was predicted by genetic loading (i.e. prevalence of familial psychiatric disorder). This was corroborated by Diederen et al. (2010*) and van Lutterveld et al. (2014*), who found that CVHs, HVHs and HCs all differed significantly from each other in their global functioning, with CVHs scoring the worst, and HVHs scoring better than CVHs yet worse than HCs. Additionally, Diederen et al. (2010*) reported that CVHs showed reduced global functioning compared to HVHs. Howes, Shotbolt, et al. (2013*) and Diederen et al. (2013*) reported that HVHs showed no impairment in global functioning, but did not compare the results of HVHs to HCs. De Weijer et al. (2013*) reported global functioning scores as part of their demographic variables, showing lower scores in functioning of HVH compared to HCs, but did not report on the statistical significance of this difference. Based on the reported data, we conducted a two-tailed t-test assuming unequal variances for a more conservative estimate, showing that this difference was significant (p = 0.005, t = 2.95).
3.6. Related psychotic phenomena
Six studies investigated other psychotic experiences in HVHs. Sommer, Derwort et al. (2010*) investigated thought disorder in CVHs, HVHs and HCs using a thought and language index and a thematic apperception test. Impoverishment of language was almost exclusively present in CVHs. Disorganization scores were significantly lower in HCs than HVHs and CVHs, but HVHs were significantly less disorganised than CVHs. Additionally, Sommer, Daalman et al. (2010*) reported that there was greater preoccupation with, and conviction of, delusional ideation in HVHs than HCs. Hill et al. (2012) found that CVHs scored higher than HVHs on positive symptoms, negative symptoms and symptoms of general psychopathology. HVHs did not differ significantly from HCs on negative symptoms and general psychopathology, but scored higher on positive symptoms, which lost significance when the hallucination item was excluded. Sommer, Daalman et al. (2010*) reported greater schizotypy scores in HVHs compared to HCs, with significant elevations on all subscales including non-positive dimensions. Interestingly, schizotypy scores, alongside genetic family loading and number of years of education, predicted global functioning. Higher schizotypy was also observed amongst HVHs compared to HCs in another study (van Lutterveld et al., 2014*), however schizotypy scores in one HVH group were similar to published general population estimates (Howes et al., 2013, Howes et al., 2013). Further, the majority of HVHs experience other hallucinatory experiences, most commonly in visual, olfactory and tactile sensory domains (Sommer et al., 2010a, Peters et al., 2016).
3.7. Cognitive biases
Two studies investigated the presence of cognitive biases in HVHs. Daalman et al. (2013*) compared CVHs, HVHs and HCs on cognitive biases for psychosis, including jumping to conclusions (reaching conclusions with limited information), intentionalising (suspecting ill intent in the actions of others), catastrophizing (endorsing the worst possible outcome of a situation), dichotomous thinking (appraising situations in extremes rather than gradients of good and bad) and emotional reasoning (emotion-driven reasoning, such that appraisals are based on internal emotional states). HCs had significantly lower cognitive biases scores than both HVHs and CVHs, and HVHs had lower scores than CVHs. However, there were different patterns depending on which type of bias/vignette content was examined: HCs and HVHs scored significantly lower than CVHs on intentionalising, catastrophising, dichotomous thinking and jumping to conclusions subscores, and did not differ from each other; whilst both AVH groups scored significantly higher on the emotional reasoning subscale compared to HCs and did not differ from each other. CVHs scored significantly higher on vignettes with threatening themes than both HCs and HVHs, who did not differ from each other. In contrast, both CVHs and HVHs scored significantly higher on vignettes with themes relating to anomalous perceptions compared with HCs, and did not differ from each other. Emotional (voice-distress and emotional valence) as well as cognitive (beliefs about origin, control and disruption) interpretations of AVHs were significant predictors of cognitive bias scores. Similarly, Jacobsen et al. (Under Review) found evidence for a more overgeneral autobiographical memory bias in CVHs compared to HVHs and HCs. Moreover, voice-specific autobiographical memory was more overgeneral in CVHs than in HVHs.
3.8. Cognitive functioning
A total of five studies, all but one stemming from the Dutch cohort, investigated cognitive functioning in HVHs, suggesting few significant differences compared to HCs. These include more errors in top down semantic expectation when compared to HCs (Daalman, Verkooijen, Derks, Aleman, & Sommer, 2012*). Moreover, auditory acuity appears somewhat lower in HVHs than HCs (Kompus et al., 2013). Similarly, some cognitive functions, mainly in the verbal domain, have been demonstrated to be significantly lower in HVHs compared to HCs (Daalman, van Zandvoort, et al., 2011*). Notably however, cognitive functions of HVHs were still within normal ranges. Interestingly, follow-up analysis by Begemann et al. (2016*) suggested that differential verbal inhibition, as measured by the Stroop paradigm (but no other cognitive measures), in HVHs vs HCs is fully explained by childhood trauma. A paced verbal fluency task has shown to be equivalent between HVHs, CVHs and HCs (Diederen et al., 2010*). Further, there were no differences observed at the behavioural level between HVHs and HCs on a test of effortful attention, as assessed via the oddball paradigm (van Lutterveld et al., 2010*).
3.9. Neuroimaging
A total of 9 studies used neuroimaging to investigate HVHs, with methodologies ranging from electroencephalography (EEG), functional magnetic resonance imaging (fMRI), structural MRI, diffusion tensor imaging (DTI) as well as positron emission tomography (PET) ( ; De Weijer et al., 2013, Diederen et al., 2013, Diederen et al., 2010, Diederen et al., 2012, Howes et al., 2013, Howes et al., 2013, Kompus et al., 2013, Linden et al., 2011, van Lutterveld et al., 2010, van Lutterveld et al., 2014). Howes, Shotbolt et al. (2013*) used PET imaging with [18F]-DOPA to investigate dopamine (DA) synthesis capacity in HVHs and HCs. No significant differences were found in whole striatal DA synthesis capacity or associative, limbic and sensorimotor functional subdivisions. Thus, the dopaminergic dysregulation observed in psychosis (Howes, Williams et al., 2013) appears not to be present in HVHs. Similarly, in a verbal fluency paradigm (Diederen et al., 2010*), HVHs and HCs did not differ significantly on language lateralisation. CVHs showed greater activation in the right precentral gyrus and left insula than both HVHs and HCs. CVHs also showed greater activation in the right superior parietal lobule than HCs, who did not differ significantly from HVHs.
Table 4
StudyParadigmTested associationHVH compared to CVHHVH compared to HCCVH compared to HCDe Weijer et al., 2013*Diffusion Tensor Imaging
Magnetisation Transfer Imaging↑ Fractional anisotropy in left arcuate fasiculus, right cortico-spinal tract and bilateral uncinate fasiculi↑ Magnetisation transfer ratio in left arcuate fasiculus↑ Magnetisation transfer ratio in left arcuate fasiculus
↑ Magnetisation transfer ratio in right arcuate fasiculus
↑ Radial diffusivity in the right arcuate fasicilusDiederen et al., 2010*BOLD fMRI during verbal fluency task↑ Lateralisation
↓ Activation in right precentral gyrus and left insula–↓ Lateralisation
↑ Activation in right precentral gyrus, left insula, and right superior parietal lobuleDiederen et al., 2012*BOLD fMRI during AVHs= Activation in a priori hypothesised regions, comprising bilaterial inferior frontal gyri, insula, superior and middle temporal gyri, supramarginal gury, precentral and post-central gyri, cerebellum, hippocampus and parahippocampal gyrus, as well as across all gray matter voxels
= Lateralisation indicesn/an/aDiederen et al., 2013*BOLD fMRI during resting-staten/a↓ Connectivity of left superior temporal gyrus with right and left superior temporal regions
↑ Connectivity of left parahippocampal gyrus with left inferior frontal region
= Connectivity of right superior temporal and bilateral inferior frontal regions
No negative correlation of right inferior frontal gyrus activity with left temporoparietal region in HVHsn/aHowes et al., 2013, Howes et al., 2013[18F]-DOPA Positron Emission Tomographyn/a= Whole striatal dopamine synthesis capacity as well as in associative, limbic and sensorimotor functional subdivisionsn/aKompus et al., 2013fMRI during dichotic listening taskn/a↓ Primary auditory cortex activation in response to stimulationn/aLinden et al., 2011BOLD fMRI during AVHs (vs imagined voices in HCs)n/a↑ Activation in bilateral inferior parietal lobules, left middle frontal gyrus, posterior cingulate cortex, left Heschl's gyrus and bilateral calcarine sulci
↑ Time of onset of activity in supplementary motor area, followed by bilateral inferior frontal gyri and superior temporal sulcusn/aVan Lutterveld et al., 2010*EEG during oddball paradigmn/a↑ P300 amplitudes, processing negativity amplitudes
= P300 latency, processing negativity latency, mismatch negativity amplitude and and latencyn/aVan Lutterveld et al., 2014*MRI↑ Cortical thickness in left paracentral lobule, left pars orbitalis, right fusiform gyrus and right inferior temporal gyrus↓ Cortical thickness in left paracentral lobule, left pars orbitalis, right fusiform gyrus and right inferior temporal gyrus
↓ Right insula thickness↓ Cortical thickness in left paracentral lobule, left pars orbitalis, right fusiform gyrus and right inferior temporal gyrus
↓ Right insula thickness
However, some neurobiological indices appear more similar in HVHs and CVHs. For instance, BOLD contrast fMRI during AVHs was not able to distinguish HVHs and CVHs (Diederen et al., 2012*). Furthermore, Diederen et al. (2013*) reported that during resting-state, HVHs exhibit aberrant connectivity of frontal, superior temporal and parahippocampal areas compared to HCs. Although no CVH sample was included, the authors point towards similar findings in clinical populations, and hypothesise that such alterations underlie the failure of inner speech to be attributed as self-generated. De Weijer et al. (2013*) used DTI and magnetization transfer imaging to compare integrity of white matter tracts in CVHs, HVHs and HCs. For the left arcuate fasiculus, both CVHs and HVHs had higher magnetisation transfer ratios than HCs, further suggesting some alterations in white matter connectivity, whilst only CVHs had higher magnetisation transfer ratios in the right arcuate fasiculus compared to HCs but not HVHs, who did not differ significantly from each other. Fractional anisotropy was significantly lower in left arcuate fasiculus, right cortico-spinal tract and bilateral uncinate fasiculi for CVHs only, suggesting altered connectivity and white matter abnormalities to be largely specific to CVHs.
Van Lutterveld et al. (2014*) conducted a structural MRI study, comparing CVHs, HVHs and HCs. There were significant group differences in left paracentral lobule, left pars orbitalis, right fusiform gyrus and right inferior temporal gyrus, with CVH lowest, HVH intermediate and HCs showing highest cortical thickness. Right insula thickness was decreased in both CVHs and HVHs compared to controls. In another study however, EEG measures of the oddball paradigm showed activation patterns consistent with increased effortful attention in HVHs, a finding diametrically opposed of that typically observed in psychosis patients (van Lutterveld et al., 2010*). The authors hypothesise that the oddball paradigm is therefore not associated with AVHs per se. Indeed, most of the studies found no association between the neuroimaging indices and assessed AVH parameters (e.g. frequency or emotional valence). This was the case for cortical thickness (van Lutterveld et al., 2014*), striatal dopamine synthesis (Howes et al., 2013, Howes et al., 2013), lateralization indices (Diederen et al., 2013*) as well as fractional anisotropy and magnetization transfer ratios (de Weijer et al., 2013*). Thus, with several of these measures it appears likely that the investigated parameter is not AVH-related, but population-specific.
3.10. Trauma exposure
All of the five studies that assessed trauma in HVHs reported increased rates of trauma exposure similar to those in CVHs. Honig et al. (1998) first found evidence of elevated trauma rates in HVHs: whilst childhood trauma rates were significantly higher in CVHs than HVHs, only 27% of HVHs had no history of childhood abuse. Unlike Honig et al., but in a much larger sample, Daalman et al. (2012*) found that CVHs and HVHs did not differ significantly from each other in prevalence of childhood sexual, physical or emotional abuse, or physical or emotional neglect, which were all higher than in HCs (Sommer, Daalman et al., 2010*). Type of trauma did not predict emotional valence or phenomenology of voices. Similarly, Andrew et al. (2008) found no significant differences in exposure rates to traumatic childhood or adulthood events between CVHs and HVHs, although CVHs had higher rates of childhood sexual abuse. Traumatic events were more closely associated with PTSD symptoms in CVHs than HVHs. Trauma predicted beliefs of high malevolence, low benevolence and high omnipotence of voices, as well as higher levels of anxiety. Kråkvik et al. (2015) found higher rates of lifetime trauma exposure in HVHs compared to HCs, but lower than in CVHs. CVHs and HVHs did not differ in their experience of bullying, although a trend-level effect was observed suggesting higher rates in CVHs, and both groups were significantly higher than HCs. Notably, the age of exposure was not assessed. A significantly larger percentage of CVHs had been in dangerous situations or accidents than HVHs, who in turn had a larger exposure to such events than HCs. Interestingly, HVHs were significantly less likely to identify such stressful life events as related to AVH onset, in contrast to CVHs.
3.11. Familial risk
Three of the identified studies reported on the potential familial risk of HVHs. In Linden et al. (2011), 2 of 7 HVH participants reported a first-degree relative with psychosis. Similarly, van Lutterveld et al. (2014*) reported that HVHs and CVHs had a greater number of first- and second-degree relatives with a psychotic disorder compared to HCs, and they did not differ between each other. Notably, no group differences in the number of relatives with a manic disorder were observed. Conversely, Sommer, Daalman et al. (2010*) reported that relatives of HVHs had significantly higher prevalence rates of depressive disorders, mania and substance use disorders than HCs, with a similar trend for psychosis, suggesting higher rates of mental illness in families of both HVHs and CVHs. Further, such apparent genetic loading was predictive of global functioning.
4. Discussion
This systematic review identified a total of 36 studies investigating HVHs, spanning various study designs from small qualitative to large epidemiological studies. The literature includes studies investigating voice phenomenology, their impact and appraisal, mood disturbances, impairment and functioning, related psychotic phenomena, cognitive functioning, neuroimaging, trauma exposure and familial risk. Sampling methodologies vary widely, with HVH sample sizes ranging from six to 183, and variable recruitment of HC and/or CVH control samples. The findings need to be interpreted in the context of a number of limitations in the existing literature, which are elaborated below. Most notably, 17 of the 36 reviewed studies are based on variations of the same cohort, which may skew results according to the sampling methodology of those studies, and may inflate the consistency of some of the findings.
4.1. Phenomenology and impact
Contrary to what would be predicted by diagnostic models, the phenomenology of AVHs is overall similar in HVH and CVHs, particularly in form (e.g. loudness or location), but less so in content and incidence (i.e., frequency and duration). However, the selection of samples based on minimum frequency scores of AVHs may lead to a distortion of the phenomenology of AVHs. Wider populations, where AVHs may be distributed with lower frequency, are excluded in most studies. Thus, it cannot be ruled out that parameters such as AVH loudness are actually attenuated once frequency decreases. Large epidemiological research focused on AVHs is necessary to describe such patterns more accurately, with study designs such as those employed by Woods et al. (2015) and Kråkvik et al. (2015).
The impact and appraisal of AVHs differ substantially between HVHs and CVHs, as would be predicted by a fully-dimensional model where AVHs themselves are insufficient to cause distress. Negative beliefs about voices, such as attributed malevolence and omnipotence, were often predictive of mood disturbances and negative emotional reactivity, as hypothesised by cognitive models of voices (Chadwick & Birchwood, 1994). CVHs consistently report diminished control over their voices, with diminished control as well as need for control being predictive of voice-distress. Although it is likely that the distress of clinical voice-hearers is driven by increased frequencies and negative voice content, a role of ‘top-down processes’ in driving phenomenological characteristics cannot be ruled out. For instance, resistant relationships with voices, a coping style predominantly employed by CVHs, may partially account for the increased frequencies and duration of AVHs in CVHs. HVHs reported that resistance led to initial distress, which was mitigated by engagement (i.e. acceptance and understanding) (Taylor & Murray, 2012). Indeed, HVHs are more likely to have a mindful response style to voices (Peters et al., 2016). This is reminiscent of the thought suppression literature, where it has been found that actively trying to suppress thoughts paradoxically increases their repetitiveness and intrusiveness (Wenzlaff & Wegner, 2000). Thus, it should not be ruled out that phenomenology of voices is shaped by their interactions with ‘top-down’ processes such as appraisals and coping strategies. Similarly, the negative content of voices may be shaped by the presence of mood difficulties, distress or low self-esteem in CVHs, as suggested by the evidence on mood-congruent AVHs (Larøi, 2012). In turn, the well-replicated finding that AVH onset occurs significantly earlier in HVHs may explain divergent cognitive appraisals. It could be speculated that earlier onset can be protective against negative appraisals such as thinking that one is “crazy”, as societal stigmatising implications of AVHs may not be understood at that age. However, in the absence of consistent epidemiological and longitudinal evidence, the cross-sectional evidence reported in the literature makes it difficult to determine the direction of relationships amongst AVHs variables and outcomes.
4.2. Mental health and functioning
Greater rates of depression and anxiety are reported in CVHs compared to HVHs. The relative lack of mood disorders in HVHs again does not support a diagnostic or quasi-dimensional framework, i.e. persistent AVHs can occur independent of distress and mood disturbances. However, these findings need to be viewed in the context of sample selection and stratification in most studies, most notably those of the Utrecht cohort (see ) which applied very strict eligibility criteria (i.e., exclusion of any current psychiatric disorder or substance use). Indeed, Kråkvik et al. (2015), using a more open, epidemiological design, did find higher rates of mental health problems in HVHs compared to HCs. Daalman et al. (2016*) further showed that despite good mental health at baseline, their HVHs were at higher risk of developing a need for mental healthcare, most strongly predicted by voice distress and previous mood disturbances. Most of the studies investigating global functioning also showed increased levels of impairments in HVHs compared with HCs, although these tended to be of subclinical magnitude and situated on a continuum between HCs and CVHs. The reviewed studies thus suggest that although HVHs mostly do not require care and suffer no distress (a finding in line with the fully-dimensional model), there is nonetheless some evidence of an increased risk of need for care from epidemiological or longitudinal research (a finding in line with the quasi-dimensional model). Similarly, HVHs score higher than HCs, but lower than CVHs, on disorganization of thought, show higher levels of delusional ideation than HCs, and have more implicit cognitive biases than HCs, but less than CVHs. Interpreted from a multidimensional standpoint, this may imply that mood disorder and distress are only weakly associated with AVHs, which in turn are more consistently associated with other positive symptoms and cognitive biases. However, since much of the evidence is cross-sectional, it is as of yet impossible to disentangle causal pathways.
The strictly dichotomous stratification in the majority of studies means that clinical individuals who are in remission, or generally healthy individuals who show occasional, subclinical distress, are often excluded in research. Given that the present literature was born out of a reconceptualization of psychosis towards dimensional models, it is paradoxical that the gray zone in which transitions to and from care-necessitating disturbances occur remains largely unexplored. Differing psychological factors in HVHs and CVHs such as cognitive biases or voice appraisals can, and already do, inform cognitive-behavioural interventions. Therefore, cross-sectional as well as longitudinal research of such transitioning populations, such as that carried out in the literature on at-risk populations, may be most relevant to clinical care and should be addressed in future research.
4.3. Risk factors
HVHs consistently report the presence of well-established latent risk factors for psychosis, i.e. genetic loading (Howes et al., 2016) and childhood trauma (Varese et al., 2012). Whilst a greater degree of risk exposure would be expected for both groups in Models 2 & 3, it is striking that HVHs and CVHs show almost no difference in exposure to these specific risk factors. However, whilst familial incidence of psychiatric disturbances is a reasonable indicator of genetic risk, heritability estimates of AVHs in CVHs and HVHs, as well as molecular genetic and epigenetic investigations, are needed for a more comprehensive understanding. Additionally, a strong case is made for the role of childhood trauma, which was consistently elevated in HVHs across all studies, a finding in line with the highly predictive impact of childhood trauma in the emergence of AVHs demonstrated in other studies (Read et al., 2005, Shevlin et al., 2008). This high rate of trauma exposure in HVHs may also explain the greater risk for distress in HVHs compared to non-voice-hearing members of the general population. Future research should address whether trauma exposure underlies the association of AVHs and distress in the general population.
However, variables such as socioeconomic status or positive social relationships, which may act as further risk or protective factors, have remained unexplored in this context despite their potential relevance. Indeed, in the context of wider psychotic experiences, Peters et al. (2016) showed that non-clinical individuals were less likely to be members of a minority ethnic group, come from a working class background, live in areas with civic disorder, and were more likely to be employed, have higher educational achievements, and have meaningful relationships. Future research should further investigate adulthood exposure to adversity, stressful life events and everyday stress to assess whether CVHs have greater exposure to the “third hit” proposed in 3-hit models of stress vulnerability (Daskalakis, Bagot, Parker, Vinkers, & de Kloet, 2013). That is, if HVHs and CVHs largely share the first hit, i.e., a genetic susceptibility, and the second hit, i.e., exposure to childhood traumatic events, then a third hit, i.e., in the form of adversity exposure in early adulthood, may crucially shape the clinical trajectory. The age of exposure to trauma is of great importance for such an assessment and has been omitted in all of the identified studies. Of note, it is surprising that the role of drug use as a risk factor has not been assessed in the literature, potentially due to stringent sampling procedures. However, evidence by Peters et al. (2016) suggests that non-clinical individuals who report wider psychotic experiences are less likely to use drugs than both their clinical counterparts and HCs, a finding that needs replication specifically in the context of HVHs.
4.4. Neurobiology
Several neuro-cognitive and biological variables appear inconclusive in regards to the three frameworks, at least in some domains. Whilst findings on cortical thickness (van Lutterveld et al., 2014*) and white-matter integrity (de Weijer et al., 2013*) are broadly in line with quasi- and fully-dimensional models, several of the functional paradigms showed incongruences with such models. Notably, language lateralisation does not differ between HVHs and HCs, but differs from CVHs (Diederen et al., 2013, Diederen et al., 2010). EEG-measured response to the auditory oddball paradigm in HVHs diverges from HC populations indicating increased effortful attention, directionally opposing the well-replicated finding that psychosis is associated with decreased effortful attention (van Lutterveld et al., 2010*). The authors suggest that this primarily indicates that AVHs are unrelated to effortful attention, as correlations of reduced P300 amplitudes with positive or negative symptoms in schizophrenia patients have not been consistently replicated. Notably, this issue translates to several of the investigated variables: it is often difficult to disentangle whether a particular finding is a substrate of AVHs, or a byproduct of wider symptomatology and population differences. Thus, for many of these findings it is not clear whether apparent discontinuity is ultimately one of the phenomenon or the population.
Interestingly, Howes, Shotbolt, et al. (2013*) and Howes, Williams et al. (2013*) reported no differences in DA synthesis capacity between HVHs and HCs. Increased striatal DA synthesis capacity has been a consistent finding in psychosis patients (Fusar-Poli and Meyer-Lindenberg, 2013, Howes et al., 2012) and has also been reported in at-risk individuals (Howes et al., 2011). According to the DA hypothesis (Howes & Kapur, 2009), increased striatal DA signaling leads to aberrant salience attribution to unwarranted stimuli and their associations. Whilst this is hypothesised to lead to the formation of delusional explanations, it is not established whether DA dysregulation actually underlies hallucinatory experiences. The authors (Howes et al., 2013, Howes et al., 2013) conclude that their findings suggest that, at least in the case of non-clinical AVHs, this is not likely to be the case. Speculatively, dysregulated DA synthesis may act as a moderating factor upon which the formation of delusional beliefs secondary to AVHs is contingent, such as threatening appraisals. However, when variables directly associated with AVHs are considered, CVHs and HVHs appear highly similar; for instance, Diederen et al. (2012*) found no differences between CVHs and HVHs in brain activity during acute AVHs, suggesting a shared neurobiological mechanism underlying AVHs in both groups.
4.5. Conclusions
The evidence considered in the present systematic review does not support strictly categorical or disease models of psychotic experiences, and is generally inconsistent with a diagnostic conceptualization (Model 1), thus supporting the first hypothesis. Instead, the evidence supports fully-dimensional and quasi-dimensional models (Models 2 and 3) to a similar degree, and cannot distinguish between them, as predicted by the second hypothesis. Therefore a hybrid conceptualization is likely to be the most accurate model (Linscott and van Os, 2013, van Os and Reininghaus, 2016). Characteristics of individual symptoms (e.g. frequency, loudness or content of AVHs) may differ in their continuity between populations, and may feasibly present with skewed or bimodal rather than normal distributions. Especially in the case of bimodal distribution, the contrast between continuous and categorical is left as a primarily semantic issue, as even the most categorical distinctions (e.g. gender) have blurry boundaries (e.g. hermaphroditism or non-binary gender identities). Thus, whilst the evidence ultimately suggests continuity, it is upon future epidemiological research to tease out the complexities and relationships of symptom dimensions. Nonetheless, research on AVHs in healthy populations may prove of crucial value to the understanding and treatment of AVHs in clinical populations.
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en
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Profile: Dan Lewsey and Pedro Younis
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Dan and Pedro filmed street buskers in Canterbury, Kent.
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en
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https://www.bbc.co.uk/favicon.ico
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BBC
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https://www.bbc.co.uk/programmes/profiles/3NvjGV08gpGsbg2M6gykL2y/profile-dan-lewsey-and-pedro-younis
|
Why did you pick this subject for Fresh?
Originally this subject was intended for a class at our Uni, (University of Kent), but after we came up with the concept, we felt it would provide insight into buskers in the Canterbury City Centre area, but most importantly their dreams, ambitions, struggles and their aspirations for their careers in the future. As well as showing the rest of the UK a glimpse of Canterbury life.
What motivated you to make this film?
In terms of inspiration for the idea, both of us really enjoy music; therefore we enjoy when buskers perform, whether in Canterbury, London, or Lisbon. We feel it’s a creative and daring way to express the art of music. After watching some videos about struggling buskers who were trying to make it into the music industry, we felt compelled to tell their stories.
What equipment did you use?
The camera we used was a Sony HXR-NX5E.
Tell us about post-production - what software did you use?
For Post-Production we used the editing program Final Cut Pro 7 to edit all the visual footage as well as the sound. We spent many hours in our university's editing rooms mixing each bit of music provided by the buskers into the shots we filmed across a two week period, trying to make it all flow.
Who/what inspires you?
Dan: My main influence in filmmaking is predominately documentary makers and their work. Directors like Asif Kapadia (Senna), Clio Barnard (Lambeth Marsh) and D.A. Pennebaker (Don’t Look Back) all altered the way in which we view documentaries today. This is something I have also tried to convey in my own work by making it unique compared to others and enjoyable at the same time for the viewer.
Pedro: I’m very fond of the musical genre in cinema, normally I enjoy big musical numbers with elaborated performances. But more recently I have been attracted to stories about more relatable characters who use music as a getaway vehicle from reality, and others who use music to survive reality. So I would say that I am inspired by realistic narratives and blending those narratives with the musical genre.
What are your plans for the future?
Dan: I’m open to new things, but he main thing for me is working within the film or television industry, whether this be working on shorts for my YouTube channel or working as part of a production company. Preferably I would like to be directing these future projects, but the main thing is I want to carry on telling a story.
Pedro: Ideally I would like to find a good internship in a company I admire and just take it from there. I see myself as a writer/director filmmaker but in the meantime I am learning how to develop my scripts into something filmable. I would also like to further explore the documentary world, since it has endless possibilities and a lot of undiscovered ground.
What is the most important thing you have learned so far?
Dan: Adapting to different environments and projects whilst also learning my strengths and weaknesses and making best possible use for them.
Pedro: Working with people who I feel comfortable with and telling a story I believe in.
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https://www.culturetype.com/2021/11/22/latest-news-in-black-art-estate-of-thornton-dial-and-kevin-beasley-join-new-galleries-julie-mehretu-and-kehinde-wiley-collaborate-with-american-express-nmaahc-launches-searchable-museum-more/
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en
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Latest News in Black Art: Estate of Thornton Dial and Kevin Beasley Join New Galleries, Julie Mehretu and Kehinde Wiley Collaborate with American Express, Smithsonian Launches Searchable Museum & More
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2021-11-22T00:00:00
|
Latest News in Black Art features news updates and developments in the world of art and related culture
THORNTON DIAL, History Refused to Die, 2004 (okra stalks and roots, clot...
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https://www.culturetype.com/wp-content/themes/sight/images/favico.ico
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Culture Type
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https://www.culturetype.com/2021/11/22/latest-news-in-black-art-estate-of-thornton-dial-and-kevin-beasley-join-new-galleries-julie-mehretu-and-kehinde-wiley-collaborate-with-american-express-nmaahc-launches-searchable-museum-more/
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Latest News in Black Art features news updates and developments in the world of art and related culture
THORNTON DIAL, “History Refused to Die,” 2004 (okra stalks and roots, clothing, collages drawings, tin, wire, steel, Masonite, steel chain, enamel, and spray paint, 102 x 87 x 23 inches). | © Estate of Thornton Dial, The Metropolitan Museum of Art
Representation
Blum & Poe announced its representation of the Estate of Thornton Dial (1928-2016). A self-taught African American artist from the South, Dial’s parents worked as sharecroppers in rural Alabama. He worked for three decades as a metalworker for the Pullman Standard Company, the railroad manufacturer, and then took up various skilled trades—house painting, highway construction, commercial fishing, and pipe fitting. He was a “working man” for five decades before devoting himself to art full time. Drawing on his hard-won labor skills, Dial explored his personal experiences and more universal social justice issues. His diverse practice spanned assemblage works composed of found objects, dramatically textured paintings, and muted neo-expressionist works on paper. The estate was previously represented by Marianne Boesky Gallery beginning in 2015.
Kevin Beasley joined Regen Projects in Los Angeles. Born in Lynchburg, Va., Beasley is based in New York. He expresses himself through a variety of mediums—sculpture, drawing, installation, sound, music, and performance. His practice “is deeply invested in drawing out the histories latent in everyday materials and connecting these pasts to the present cultural landscape. This interest manifests in works that are produced by subjecting historically charged materials to transformative processes, reconfiguring and recontextualizing them to make new meaning. Harnessing the personal, cultural, and political associations of objects, Beasley investigates the history of power and race in America.” Beasley’s first solo exhibition with Regen Projects is planned for April 2022. He continues to be represented by Casey Kaplan in New York.
Museums
The Smithsonian’s National Museum of African American History and Culture launched the Searchable Museum, digitizing its exhibition content and making the institution’s narratives and objects accessible to audiences worldwide. | Hyperallergic
In recent years, more than 30 museum have made gift/purchase agreements with the Souls Grown Deep Foundation, acquiring more than 500 works by more than 110 African American artists from the South. The Atlanta, Ga.-based foundation announced this group now includes five university museums: Blanton Museum of Art (The University of Texas at Austin); Hampton University Museum, Hampton, Va.; Hood Museum of Art (Dartmouth College), Hanover, N.H.; Princeton University Art Museum, Princeton, N.J.; and RISD Museum, Providence, R.I. Four of the museums (Hampton, Hood, Princeton, and RISD) are also partnering with Souls Grown Deep to provide paid internships to BIPOC undergraduate students for the Spring 2022 semester.
Magazines
The cover of the Nov. 25, 2021 edition of LA Weekly features the work of Lorna Simpson, illustrating inside coverage of “Everrrything,” her exhibition at Hauser & Wirth Los Angeles, which is on view through Jan. 9.
Blackstar Film Festival released the third issue of its magazine Seen. The publication coincides with the appointment of Dessane Lopez Cassell as editor-in-chief. A curator and former museum worker, Cassell guest-edited the second edition of Seen. Previously, she served as reviews editor at Hyperallergic.
IMAGE: Above left, Artist Lorna Simpson gets cover treatment for latest issue of LA Weekly.
Auctions
“Choice Works,” a benefit auction organized by Planned Parenthood of Greater New York and Planned Parenthood of South, East, and North Florida is live on Artsy through Dec. 7, 2021. The auction features 21 works donated by the artists, including Francesca DiMattio, Futura, Sam Gilliam, Carmen Herrera, Jenny Holzer, Simone Leigh, Amy Sherald, and Shinique Smith.
Nov. 17, 2021: Artists Julie Mehretu and Kehinde Wiley attend the American Express X The Studio Museum Art Discussion at the Museum of Modern Art in New York City. | Bryan Bedder/Getty Images for American Express
More News
On Dec. 1 in Miami Beach, American Express is unveiling new designs for its Consumer Platinum Card featuring artwork by artists Julie Mehretu and Kehinde Wiley. Amex customers will be able to request the cards beginning Jan 20, 2022. The collaboration coincides with a $1 million dollar donation to the Studio Museum in Harlem, where both artists participated in the museum’s renowned artist-in-residence program. (Wiley is teaming up with American Express for the second time this year. In August, he signed on to create a new design for the Centurion Card, Amex’s invitation-only black card.)
Opportunities
Applications are open for the 2022 Socrates Annual Fellowship and exhibition program at Socrates Sculpture Park in Queen, N.Y. Based on the prompt “Sink or Swim Climate Futures,” proposals should be submitted with the goal of presenting a public artwork for a group exhibition. Fellows receive an $8,000 production grant, $2,000 honorarium, and access for three months to the resources and fabrication facilities of the Park’s outdoor artist studio. Submission deadline is Dec. 6, 2021. | More Info
The Aspen Institute‘s Artist-Endowed Foundations Initiative (AEFI) is requesting letters of interest for a consulting assignment. The individual would be working from January to December 2022 on the following AEFI project: Building the Artist-Endowed Foundation Community’s DEAI Capacity to Host BIPOC Interns and Fellows. Submission deadline is Dec. 6, 2021. | More Info
After a tumultuous period, the Museum of Contemporary Art, Los Angeles (MOCA) installed a new executive director and is hiring in key positions across departments. MOCA opportunities include director of curatorial affairs, senior curator, assistant curator, assistant registrar, director of people and culture, and chief communications officer. | More Info
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2018 Emmy® Awards Nominees & Winners
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2018 Michigan EMMY® AWARDS Nominees & Recipients CATEGORY #02NEWSCAST – EVENING 2018 MICHIGAN EMMY® NOMINEE 7 Action News at 11pmWXYZ• Melissa Nicol, Producer 2018 MICHIGAN EMMY® RECIPIENT 11PM News – Officers ShotWDIV• Doda Lulgjuraj, Producer CATEGORY #03BREAKING NEWS 2018 MICHIGAN EMMY® NOMINEE Airport AttackWEYI• Mike...
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https://natasmichigan.org/emmy-awards/archive/2018-emmy-awards-nominees-winners/
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CATEGORY #04
CONTINUING COVERAGE
2018 MICHIGAN EMMY® RECIPIENT
Toxic Tapwater
WOOD
• Bilal Kurdi, Photographer
• Ken Kolker, Producer
2018 MICHIGAN EMMY® NOMINEE
School Bus Sexual Abuse
WWMT
• Anna Giles, Reporter
2018 MICHIGAN EMMY® NOMINEE
Continuing Coverage: Where Is Theresa Lockhart?
WWMT
• Walter Smith-Randolph, Investigative Reporter
• Carter Gent, Producer
• Cody Combs, Investigative Reporter
CATEGORY #07
ARTS/ENTERTAINMENT
2018 MICHIGAN EMMY® RECIPIENT
Victory for MSU | Michigan State University
MICHIGAN STATE UNIVERSITY
• Anthony Siciliano, Producer/Editor
• Kevin Epling, Producer
2018 MICHIGAN EMMY® NOMINEE
Winter Wanderland
WWJ
• Paul Pytlowany, Producer
• Lisa Germani, Host/Producer
• Karen Carter, Host/Producer
2018 MICHIGAN EMMY® NOMINEE
Detroit Performs
WTVS
• Sarah Zientarski-Smith, Producer
• Tina Brunn, Editor
• Matthew Brunn, Camera
• Chad Schwartzenberger, Director Of Photography
CATEGORY #17A
POLITICS/GOVERNMENT- NEWS SINGLE STORY/FEATURE
2018 MICHIGAN EMMY® RECIPIENT
Focusing on Freedom
WNEM
• David Custer, Producer / Talent
• Michelle Galarno, Producer / Editor
2018 MICHIGAN EMMY® NOMINEE
The Cadillac of Insurance
WZZM
• Sarah Sell, Reporter
• John Linsley, Videojournalist
2018 MICHIGAN EMMY® NOMINEE
Secret Meetings
WOOD
• Ken Kolker, Reporter
• Troy Baker, Producer
• Bilal Kurdi, Photojouranlist
2018 MICHIGAN EMMY® NOMINEE
Solve the Problem. Solve the "Cycle of Craziness".
WZZM
• David Bailey, Segment Producer
• John Linsley, Lead Visual Journalist & Storyteller
CATEGORY #18B
SOCIETAL CONCERNS - PROGRAM/SPECIAL
2018 MICHIGAN EMMY® RECIPIENT
Hunger, Hope & Hot Chocolate: Life on Detroit's East Side
DETROIT FREE PRESS
• Mark Kurlyandchik, Producer/Editor
• John Carlisle, Producer/Reporter
2018 MICHIGAN EMMY® NOMINEE
Opioid Nation: An American Epidemic
WDIV
• Meaghan St. Pierre, Producer
• Roseanne Coppola, Executive Producer
2018 MICHIGAN EMMY® NOMINEE
Opening Minds Ending Stigma Campus Challenges
WOOD
• Andrea Cole, Executive Producer
• Cary Crafty, Managing Editor
• John O'Donnell, Senior Producer
• Duncan Sinclair, Videographer/Editor/Producer
• Lauren Sanders, Host
• Lynda Zeller, Editorial Contributor
CATEGORY #19C
SPORTS - DAILY OR WEEKLY PROGRAM
2018 MICHIGAN EMMY® RECIPIENT
Spartan Basketball All-Access: Tum Tum
MICHIGAN STATE SPARTAN VISION
• Nicholas Baker, Producer, Editor
• Jacob Huber, Producer
2018 MICHIGAN EMMY® NOMINEE
Spartan Football All-Access 2017: Couldn't Break Us
MICHIGAN STATE UNIVERSITY ATHLETICS
• Benjamin Owen, Producer
2018 MICHIGAN EMMY® NOMINEE
Red Wings Live
FOX SPORTS DETROIT
• Mary Beam, Producer
• Craig Wilking, Producer
• Joe Nikkola, Producer
• Blair McGowan, Producer
CATEGORY #19E
SPORTS - ONE-TIME SPECIAL
2018 MICHIGAN EMMY® NOMINEE
Remembering Mr. I
FOX SPORTS DETROIT
• Craig Wilking, Producer
• Alex Assaf, Associate Producer
• Jeff Byle, Executive Producer
• Kevin Guralewski, Editor
2018 MICHIGAN EMMY® RECIPIENT
State Champs! Legends - Jalen Rose
YELLOW FLAG PRODUCTIONS
• Lorne Plant, Producer - Narrator
2018 MICHIGAN EMMY® NOMINEE
Road to Kickoff
DETROIT LIONS
• Tori Petry, Talent-Editor
• Dustyn Blindert, Producer-Videographer
• Ellen Trudell, Production Assistant-Manager
• Ben Manges, Director
CATEGORY #20B
SPORTING EVENT/GAME - LIVE/UNEDITED - SERIES
2018 MICHIGAN EMMY® NOMINEE
Detroit Pistons Basketball
FOX SPORTS DETROIT
• Jason Dizik, Producer
• Christopher Wasielewski, Producer
• Michael Oddino, Director
• David Rhoades, Directori
• Jeff Byle, Executive Producer
• Brady Clyma, Coordinating Producer
2018 MICHIGAN EMMY® NOMINEE
Detroit Tigers Baseball
FOX SPORTS DETROIT
• Christopher Wasielewski, Producer
• Jason Dizik, Producer
• Michael Oddino, Director
• Mark Iacofano, Director
• Jeff Byle, Executive Producer
• Brady Clyma, Coordinating Producer
2018 MICHIGAN EMMY® NOMINEE
Detroit Red Wings Hockey
FOX SPORTS DETROIT
• Christopher Wasielewski, Producer
• Mark Iacofano, Director
• Jeff Byle, Executive Producer
• Brady Clyma, Coordinating Producer
2018 MICHIGAN EMMY® RECIPIENT
Detroit Tigers Themed Telecasts
FOX SPORTS DETROIT
• Christopher Wasielewski, Producer
• Jason Dizik, Producer
• Michael Oddino, Director
• Mark Iacofano, Director
• Alex Assaf, Associate Producer
• Jeff Byle, Executive Producer
• Brady Clyma, Coordinating Producer
CATEGORY #21
WEATHER
2018 MICHIGAN EMMY® RECIPIENT
Paul Gross - Station Scientist
WDIV
• Paul Gross, Meteorologist
2018 MICHIGAN EMMY® NOMINEE
Halloween Trick or Sleet
WLNS
• David Young, Weather Anchor
2018 MICHIGAN EMMY® NOMINEE
Shoot the Puck!
WZZM
• David Bailey, Segment Producer
• John Linsley, Lead Visual Journalist & Storyteller
CATEGORY #26
SPECIAL EVENT COVERAGE (OTHER THAN NEWS OR SPORTS)
2018 MICHIGAN EMMY® NOMINEE
WOTV Idol
WOTV
• Kurtis Kaechele, Executive Producer
• Carly Munoz, Producer
2018 MICHIGAN EMMY® RECIPIENT
The Red Carpet Charity Preview
WXYZ
• Marie Gould, Producer
CATEGORY #30
OVERALL EXCELLENCE
2018 MICHIGAN EMMY® RECIPIENT
WXYZ
WXYZ
• Mike Murri, Vice President And General Manager
2018 MICHIGAN EMMY® NOMINEE
FOX Sports Detroit 2017
FOX SPORTS DETROIT
• Greg Hammaren, SVP/GM
CATEGORY #31
NEWS EXCELLENCE
2018 MICHIGAN EMMY® RECIPIENT
WXYZ News Excellence
WXYZ
• Rhonda LaVelle, News Director
2018 MICHIGAN EMMY® NOMINEE
ABC12 News Excellence
WJRT
• Jayne Hodak Soboleski, News Director
CATEGORY #32
AUDIO
2018 MICHIGAN EMMY® RECIPIENT
A Classy Brassy Christmas & More
WEYI
• Christopher Harris, Audio Supervisor
2018 MICHIGAN EMMY® NOMINEE
BackStage Pass: The Crane Wives
WKAR-TV
• Drew Hill, Audio Recordist And Mixer
2018 MICHIGAN EMMY® NOMINEE
Great Lakes ~ Great Tastes 2017
WTVS
• Tim Peterson, Audio Recordist
2018 MICHIGAN EMMY® NOMINEE
2017 Saluting Our Veterans Exhibit
MICHIGAN DEPARTMENT OF STATE
• Walter V. Marshall, Videographer
CATEGORY #33A
MUSICAL COMPOSITION/ARRANGEMENT
2018 MICHIGAN EMMY® RECIPIENT
Anthem
TEAM 5
• Erik Johnson, COMPOSER
CATEGORY #33B
MAKEUP
2018 MICHIGAN EMMY® RECIPIENT
Pledge Composite
DPTV
• Amanie Mokdad, Makeup Artist
2018 MICHIGAN EMMY® NOMINEE
Detroit Performs
DPTV
• Amanie Mokdad, Makeup Artist
CATEGORY #34A
DIRECTOR - LIVE OR RECORDED LIVE
2018 MICHIGAN EMMY® NOMINEE
Detroit Pistons
FOX SPORTS DETROIT
• David Rhoades, Director
2018 MICHIGAN EMMY® NOMINEE
Michael Oddino Live Director
FOX SPORTS DETROIT
• Michael Oddino, Director
2018 MICHIGAN EMMY® NOMINEE
A Classy Brassy Christmas & More
WEYI
• Christopher Harris, Director
• Robin Chan, Technical Director
2018 MICHIGAN EMMY® RECIPIENT
Mark Iacofano
FOX SPORTS DETROIT
• Mark Iacofano, Director
CATEGORY #34B
DIRECTOR - NEWSCAST
2018 MICHIGAN EMMY® RECIPIENT
Live Newscast Directing
WEYI
• Robin Chan, Director
2018 MICHIGAN EMMY® NOMINEE
WDIV Local 4 News
WDIV
• Wesley Knodel, Director
CATEGORY #34C
DIRECTOR - NON-LIVE (POST PRODUCTION)
2018 MICHIGAN EMMY® NOMINEE
Michigan Medicine - Director (Non-Live) Compilation
MICHIGAN MEDICINE
• Joe Hallisy, Videographer, Editor, Co-Director, Producer
• Bryan McCullough, Videographer, Editor, Co-Director, Producer
2018 MICHIGAN EMMY® RECIPIENT
Run, Hide, Fight
MICHIGAN MEDIA - UNIVERSITY OF MICHIGAN
• Bob Berg, Director
2018 MICHIGAN EMMY® NOMINEE
Alexander Wright
GOOD PROBLEM PRODUCTIONS
• Alexander Wright, Director
CATEGORY #35B
EDITOR - SHORT FORM (PROMOS, PSAS, COMMERCIALS, OPENS, ETC.)
2018 MICHIGAN EMMY® NOMINEE
Matthew Ozanich: Editor
WCMU
• Matthew Ozanich, Editor
2018 MICHIGAN EMMY® RECIPIENT
Brian Ducoffe Editing Comp
FOX SPORTS DETROIT
• Brian Ducoffe, Editor
2018 MICHIGAN EMMY® NOMINEE
University Distinguished Professors
WKAR
• Jason Vlahos, Editor
2018 MICHIGAN EMMY® NOMINEE
Matthew Ferguson- Short Form Editor
WOOD
• Matthew Ferguson, Editor
2018 MICHIGAN EMMY® NOMINEE
Jeff Glover & Associates "Detroiter"
WWJ
• Charles Forbes, Editor / Producer
2018 MICHIGAN EMMY® NOMINEE
Kirk Mason Production Reel 2017
KIRK MASON PRODUCTIONS
• Kirk Mason, Director/Cinematographer/Editor
2018 MICHIGAN EMMY® NOMINEE
Old Man Winter
WEYI
• Jeff Varga, Wrote, Directed, Shot, Edited, Created Vfx
2018 MICHIGAN EMMY® NOMINEE
StoryTellers
WDIV
• Ian Rhodes, Editor
2018 MICHIGAN EMMY® NOMINEE
Michigan Athletics - Expect Respect
MICHIGAN SPORTS TELEVISION
• Nolan Bona, Video Editor
CATEGORY #35C
EDITOR - NEWS
2018 MICHIGAN EMMY® NOMINEE
Make It Sing!
WZZM
• John Linsley, Editor
2018 MICHIGAN EMMY® RECIPIENT
9/11 Traveling Museum
WWJ
• Paul Pytlowany, Producer/Videographer/Editor
2018 MICHIGAN EMMY® NOMINEE
Editor
WOOD
• Bilal Kurdi, EDITOR
CATEGORY #37
LIGHTING
2018 MICHIGAN EMMY® NOMINEE
Great Lakes ~ Great Tastes 2017
WTVS
• Tim Peterson, Gaffer/Grip
2018 MICHIGAN EMMY® NOMINEE
David Tietmeyer Compilation: Lighting
CITY OF FARMINGTON HILLS, CHANNEL 8
• David Tietmeyer, Executive Producer / Lighting
2018 MICHIGAN EMMY® RECIPIENT
Chad Schwartzenberger Lighting Compilation
GOOD PROBLEM PRODUCTIONS
• Chad Schwartzenberger, Cinematographer
CATEGORY #38
NEWS PRODUCER
2018 MICHIGAN EMMY® RECIPIENT
Melissa Nicol Composite
WXYZ
• Melissa Nicol, Producer
2018 MICHIGAN EMMY® NOMINEE
Luke Stier - Producer
WOOD
• Luke Stier, Executive Producer
CATEGORY #39A
TALENT - ANCHOR NEWS
2018 MICHIGAN EMMY® NOMINEE
Ann Emmerich, Anchor Composite
WILX
• Ann Emmerich, Anchor
2018 MICHIGAN EMMY® NOMINEE
Lora Painter -- Anchor
WILX
• Lora Painter, Anchor
2018 MICHIGAN EMMY® NOMINEE
Bill Harris
WEYI
• William Harris, News Anchor
2018 MICHIGAN EMMY® RECIPIENT
Kimberly Gill Anchor Composite
WDIV
• Kimberly Gill, Anchor
2018 MICHIGAN EMMY® NOMINEE
Angie Hendershot - Composite
WJRT
• Angie Hendershot, Anchor
CATEGORY #39B
TALENT - WEATHER
2018 MICHIGAN EMMY® NOMINEE
Ellen Bacca, Meteorologist
WOOD
• Ellen Bacca, Talent
2018 MICHIGAN EMMY® RECIPIENT
Derek Kevra - Meteorologist, CBM
WJBK
• Derek Kevra, Meteorologist
2018 MICHIGAN EMMY® NOMINEE
Chris Mulcahy - Learning & Knowing the Weather
WJRT
• Chris Mulcahy, Meteorologist
CATEGORY #39C
TALENT - SPORTS
2018 MICHIGAN EMMY® NOMINEE
Matt Shepard Sports Anchor
FOX SPORTS DETROIT
• Matthew Shepard, Host
2018 MICHIGAN EMMY® RECIPIENT
Ryan Slocum - Sports Anchor
WJRT
• Ryan Slocum, Anchor, Writer, Producer, Editor
CATEGORY #39E
TALENT - PROGRAM HOST/MODERATOR
2018 MICHIGAN EMMY® RECIPIENT
Rob Stephenson - Curious Crew
WKAR
• Rob Stephenson, Host
2018 MICHIGAN EMMY® NOMINEE
Matt Ottinger - QuizBusters
WKAR
• Matt Ottinger, Host
CATEGORY #39F
REPORTER - GENERAL ASSIGNMENT
2018 MICHIGAN EMMY® NOMINEE
Reporter Syma Chowdhry
WXYZ
• Syma Chowdhry, Reporter
2018 MICHIGAN EMMY® NOMINEE
Hilary Golston
WJBK
• Hilary Golston, Reporter
2018 MICHIGAN EMMY® RECIPIENT
Nick Monacelli Composite
WDIV
• Nick Monacelli, Reporter
2018 MICHIGAN EMMY® NOMINEE
Kim Russell Reporter
WXYZ
• Kim Russell, General Assignment Reporter
CATEGORY #39G
REPORTER - INVESTIGATIVE
2018 MICHIGAN EMMY® NOMINEE
Heather Catallo - Investigative Reporter
WXYZ
• Heather Catallo, Investigative Reporter
2018 MICHIGAN EMMY® NOMINEE
Ken Kolker: Investigative Reporter
WOOD
• Ken Kolker, Reporter
2018 MICHIGAN EMMY® RECIPIENT
Rob Wolchek
WJBK
• Robert Wolchek, Reporter
CATEGORY #39H
REPORTER - SPORTS
2018 MICHIGAN EMMY® NOMINEE
Al Martin Composite
WKAR
• Al Martin, Reporter
2018 MICHIGAN EMMY® NOMINEE
Tori Petry - Composite
DETROIT LIONS
• Tori Petry, Reporter
2018 MICHIGAN EMMY® RECIPIENT
Justin Rose - WXYZ Sports Reporter/Host
WXYZ
• Justin Rose, Reporter/Host/Anchor/Color Commentator
2018 MICHIGAN EMMY® NOMINEE
Trevor Thompson - Sports Reporter Compilation
FOX SPORTS DETROIT
• Trevor Thompson, Reporter
CATEGORY #39I
REPORTER - TRANSPORTATION/TRAFFIC
2018 MICHIGAN EMMY® RECIPIENT
David Bailey - Speed Limits and the Law
WZZM
• David Bailey, Transportation Reporter
CATEGORY #40A
PHOTOGRAPHER - PROGRAM (NON-NEWS)
2018 MICHIGAN EMMY® NOMINEE
David Tietmeyer Compilation: Photographer
CITY OF FARMINGTON HILLS, CHANNEL 8
• David Tietmeyer, Executive Producer / Photographer
2018 MICHIGAN EMMY® NOMINEE
University Distinguished Professors
WKAR
• Jason Vlahos, Videographer
2018 MICHIGAN EMMY® NOMINEE
Innovation in Mobility
WWJ
• Paul Pytlowany, Videographer
2018 MICHIGAN EMMY® RECIPIENT
Chad Schwartzenberger Compilation
GOOD PROBLEM PRODUCTIONS
• Chad Schwartzenberger, Cinematographer
2018 MICHIGAN EMMY® NOMINEE
Great Lakes ~ Great Tastes 2017
WTVS
• Tim Peterson, Cinematographer
CATEGORY #40B
PHOTOGRAPHER - NEWS
2018 MICHIGAN EMMY® RECIPIENT
Eye On Detroit Compilation
WWJ
• Paul Pytlowany, Videographer
2018 MICHIGAN EMMY® NOMINEE
Stories by Alex Atwell
WDIV
• Alex Atwell, Photographer, Editor, Producer, Writer
2018 MICHIGAN EMMY® NOMINEE
Visual Storytelling
WZZM
• Evan Linnert, Photojournalist
2018 MICHIGAN EMMY® NOMINEE
Photojournalist
WOOD
• Bilal Kurdi, Photographer
CATEGORY #41B
WRITER - SHORT FORM (PROMOS, PSAS, COMMERCIALS, OPENS, ETC.)
2018 MICHIGAN EMMY® NOMINEE
StoryTellers
WDIV
• Ian Rhodes, Writer
2018 MICHIGAN EMMY® RECIPIENT
The Victors: HAIL
UNIVERSITY OF MICHIGAN FOOTBALL
• Oliver Thornton, Writer
2018 MICHIGAN EMMY® NOMINEE
Brian Ducoffe Written Compostie
FOX SPORTS DETROIT
• Brian Ducoffe, Writer
CATEGORY #41C
WRITER - NEWS
2018 MICHIGAN EMMY® NOMINEE
Sadie Hughes Writing Composite
WSMH
• Sadie Hughes, Writer
2018 MICHIGAN EMMY® RECIPIENT
Koco McAboy Writer
WDIV
• Koco McAboy, Writer
2018 MICHIGAN EMMY® NOMINEE
Brent Ashcroft Writing Composite
WZZM
• Brent Ashcroft, Writer
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https://www.berkeleydailyplanet.com/issue/2012-11-30/article/40567%3Fheadline%3DTheater-Review-Wilder-Times-four-short-plays-by-Thornton-Wilder-at-the-Aurora--By-Ken-Bullock
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en
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Theater Review: 'Wilder Times'—four short plays by Thornton Wilder—at the Aurora. Category: Arts & Events from The Berkeley Daily Planet
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2012-11-30T00:00:00
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The East Bay's Non-commercial Voice
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"Whenever you get near the human race, there are layers and layers of nonsense."
Thornton Wilder's best-known, of course, for 'Our Town,' where the quote's from, the bare stage small-town play, narrated by a stage manager, which has become something like an icon of Americana, almost lumped in with, say, Frank Capra movies (one reviewer even mentioned Norman Rockwell) as a reminder of a happier, more innocent pas—rather falsely, as Wilder's always after bigger game than provincialism making light of itself. "A little play, with all the big subjects in it," Wilder—a Berkeley High graduate—wrote his friend and mentor, Gertrude Stein.
Aurora Theatre's staging four of Wilder's even "littler" plays as a program, 'Wilder Nights,' (Barbara Oliver directing) that highlights some of Wilder's concerns, and provides a few perspectives on the themes and ways of treatment he worked over and over.
'Infancy' has a humorous, anxious nanny—played with panache by Heather Gordon—who utilizes the park where she takes her charge in a baby carriage as the stage for her anxieties, her servant's social life, as she kvetches about her lot in life, flirts with a comic Italo-American policeman (Soren Oliver), listens to Mrs. Boker's Yiddish-flavored chit-chat ... while the babies, played by grown-ups Patrick Russell and Brian Trybom, emerge from their perambulators and shoot the breeze, even more anxious and angry about their brief social experience, ignored by their elders.
'Childhood' follows, a trio of kids (Marcia Pizzo, Gordon, Russell) elude their parents (Stacy Ross and Trybom) in a fantasy bus ride as pretend adults, yet presided over by the adults in the guise of bus driver and older passenger, as they learn through play some of life's intransigent side. The theme of mortality's taken up again after intermission with 'The Happy Journey to Trenton and Camden,' a family's little road trip to visit a married daughter, older sister, who's had a baby—and suffered tragedy—and is highlighted in the most famous of the quartet, 'The Long Christmas Dinner,' which inspired the famous breakfast table scene in 'Citizen Kane,' with a time lapse glimpse of generations stepping up to the holiday table together—and shuffling off alone into oblivion, but with a sprightly theatrical touch ...
It's good to see some of Wilder's unique material back onstage in a form different than the overly-positivistic cliche 'Our Town's' too often become. Wilder mastered the short form, mined it for nuances and new kinds of representation he used in his major plays, yet the shorter ones, now mostly brought up in mentioning that influence, have their own life still, are refreshing, with that slightly acerbic air of Wilder's sensibility.
There're problems here, too, not the least the staging of plays from very different eras together, but in reverse chronological order. 'Infancy' and 'Childhood are from the 1960s, part of an unfinished series on the Ages of Man Wilder projected, while the other two, which end the evening, are from the 30s, more self-enclosed works that resemble aspects of 'Our Town' or 'Skin of Our Teeth.' The constant seems to be family life, but that thematic way of lumping all four together has a way of detracting from their singularity, their individual takes on a range of themes, the secret ways they might work together and bring out the performers' abilities over the course of the evening.
As it was, the individual actors—all good—sometimes got a little lost in the shuffle, while the ensemble didn't really come to the fore as a unit until 'The Long Christmas Dinner,' which also saw Soren Oliver's best moments, as well as a charming debut on the Aurora stage by a talented intern, Gwen Kingston.
Everybody has the chance to show themselves to advantage as well as work closely together in this final play of the evening, while those leading up sometimes inadvertently feature one or another, or a few moments of a performance. Stacy Ross particularly comes forward in 'The Happy Journey ...'—with some nice work in tandem with Marcia Pizzo, mother comforting daughter.
Aurora deserves congratulations for bringing back Wilder's shorter plays, almost a genre in themselves, which prepared for the little revolution in stagecraft of 'Our Town,' still performed constantly around the world. Maybe this production will encourage others to make new match-ups of his one-acts—pays like the unusual 'Pullman Car Hiawatha,' or the "playlets" he innovated, which may've helped break up what—to some—looked like sameness in the arrangement of these sensitive plants of the theater, each one opening at its own moment.
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https://en.wikipedia.org/wiki/Olly_Alexander
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en
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Olly Alexander
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2010-12-25T01:42:34+00:00
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en
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https://en.wikipedia.org/wiki/Olly_Alexander
|
English singer and actor (born 1990)
Not to be confused with Ali Alexander.
Not to be confused with Oliver Thornton.
Oliver Alexander Thornton (born 15 July 1990),[1] known professionally as Olly Alexander, is an English singer, actor and LGBT activist.[2]
He rose to prominence as the lead singer of the pop band Years & Years, who achieved two number-one albums on the UK Albums Chart, a number-one single and five top-ten entries on the UK Singles Chart.[3] Between 2021 and 2023, he continued to release music under the name until their dissolution in 2024.[4]
As an actor, he rose to critical acclaim for his performance as Ritchie Tozer in the Channel 4 drama series It's a Sin (2021), earning Best Actor nominations at the British Academy Television Awards, Critics' Choice Television Awards and Independent Spirit Awards. Alexander represented the United Kingdom in the Eurovision Song Contest 2024 in Malmö, Sweden, with his song "Dizzy", which marked his first release under his own name; in the grand final, he finished in 18th place with 46 points.[5][6]
Early life
[edit]
Oliver Alexander Thornton was born on 15 July 1990 in Harrogate, North Yorkshire.[7][8][9] His mother, Vicki Thornton,[10][non-primary source needed] was one of the founders of the Coleford Music Festival.[11] Alexander attended St John's Primary School in Coleford[12] and Monmouth Comprehensive School. While at Monmouth Comprehensive School, he acted in two school plays: Guys and Dolls, as Benny, and The Caucasian Chalk Circle, as the Corporal.[13] After completing his GCSEs, Alexander studied Performing Arts at the Hereford College of Arts.[14][15] The New York Times reported that he wrote his first song on his father's Casio keyboard aged 10.[16] His parents separated when he was 13, and he and his brother Ben, were thereafter brought up solely by his mother.[17]
He obtained the services of an agent when he was 16, while auditioning for a part in British TV series Skins. In a YouTube video uploaded from NylonMagazineTV, Alexander said he dropped out of the Hereford College of Arts to pursue his acting career as parts were offered, stating: "I started acting when I was young; it just sort of happened. I dropped out of school to work around the world, which was amazing."[18][19] "I really wanted to become a singer or a musician ... All of a sudden I was an actor. It was never something I'd set my heart on being. I'm still trying to work it out ... I really hated school because I was totally bullied. But you're never bullied in drama class because the weird kids do well in drama class. That's a safe place".[20] Alexander was interviewed about his mental health by Guardian columnist Owen Jones.[21][22] He further expanded on his bullying, bulimia and early life experiences during a 2021 interview in the same publication.[23]
Career
[edit]
Acting career
[edit]
Alexander's acting career began in the film Summerhill released in 2008. His next film Bright Star was nominated for an Academy Award in the United States for Best Achievement in Costume Design.[24] He acted in the 2009 released films Tormented starring Alex Pettyfer and Enter the Void. In 2010 he played Evan in the Bush Theatre production of The Aliens.[25][26] Alexander contributed to the script and music[27] for indie film The Dish & the Spoon, released in early 2011. In 2012, he appeared in the theatre production of Mercury Fur, taking the part of Naz at The Old Red Lion, Islington.[28]
From March to June 2013, Alexander starred as Peter Pan in the West End play Peter and Alice acting alongside Ben Whishaw and Judi Dench. Alexander also had a supporting role in the final series of Skins, playing Cassie Ainsworth's stalker in the two-part episode "Skins Pure", which aired in July 2013. Also in 2013 Google Analytics released an internal corporate video which features Alexander as a demanding shopper under the sub-heading "That is what happens when you save on usability".[29]
Alexander plays one of the main characters in the 2014 musical feature film God Help the Girl, where he also sings and plays guitar. The film was written and directed by Stuart Murdoch, the lead singer of the group Belle and Sebastian, as part of the God Help the Girl project.[citation needed]
Alexander also appeared in The Riot Club, the film adaptation of Laura Wade's stage play Posh alongside British actors Sam Claflin, Max Irons and Douglas Booth. Alexander briefly portrayed the vampire Fenton in the British-American horror series Penny Dreadful in episodes aired in 2014.[30]
In the indie film Funny Bunny, which first premiered at SXSW 2015, Alexander plays Titty, a troubled teenager.[31] The film was directed and written by Alison Bagnall, who directed The Dish & the Spoon, while Alexander was a co-writer together with the other two leads.[32] The film was shown at art houses during the summer and was theatrically released on 13 November 2015.[33]
In January 2021, Alexander appeared in a leading role in Russell T Davies' Channel 4 and HBO Max drama It's a Sin, which depicts gay life in the 1980s and early 1990s, and the onset of HIV/AIDS. The show and Alexander's performance earned critical acclaim, with some critics expressing their desire for Alexander to win a BAFTA for his performance.[34] In 2024, Alexander made a cameo appearance as himself in the BBC soap opera, EastEnders, in an episode aired on 2 May.[35]
Music career
[edit]
Years & Years formed in 2010, with Alexander joining the band as lead vocalist after member Mikey Goldsworthy heard him singing in the shower and liked his voice.[36]
Their debut single "I Wish I Knew" was released in July 2012 on the Good Bait label, with the band performing as a five-piece group. In 2013, the group signed a deal to the French label Kitsuné as a three-piece and released their second single, called "Traps", in September 2013, which achieved support from Radio 1 and Radio 6, as well as many online publications such as The Guardian and The Fader.[37][38] "Traps" also features on Kitsuné Maison's 15th compilation.[39]
The band released their second single "Real" on Kitsuné and iTunes in February 2014. The music video featured an appearance from Alexander's Peter and Alice co-star, Ben Whishaw,[40] and former Misfits actor Nathan Stewart-Jarrett.[41] Telling the story in The Independent article of 28 July 2015 of the Ben Whishaw effect (most recent James Bond Q actor), the video received eight and a half million views online, and in 2014 they also changed their record label from the French smaller label Kitsuné to Polydor as they gained prominence. In January 2015, they were announced winners of the BBC's Sound of... vote.[42]
Years & Years' most successful single, "King", released under Polydor, headed straight to number one in the UK Single Chart in March 2015, earning the band national recognition.[43] Their debut studio album, Communion, was released on 10 July 2015 and entered the UK Albums Chart at number 1.[44]
As a gay songwriter,[45][46] Alexander has stated in interviews he would like to see greater use of the qualified male pronoun in music. He explained that when he used to write in a diary, he would refer to "you and I" because he wanted to hide who he was writing about. Several Years & Years songs feature male pronouns.[47] "It is kind of sad to me that we don't have gay popstars singing about men using a male pronoun," he told Digital Spy, "but that could change hopefully."[48] Though his work with Years & Years openly references his sexuality, Alexander "can't speak for all gay people, because there are so many different issues, and experiences, and different shapes and sizes. But I can speak for myself, and that is what I'm doing if I'm going to be writing songs and giving interviews, I want to be able to speak about something I care about."[48] Years & Years' second studio album, titled Palo Santo, was released on 6 July 2018 and features hits like "If You're Over Me" and "Sanctify". On 14 August 2018, "If You're Over Me" was certified Gold by the British Phonographic Industry and announced via the band's Twitter account.
In September 2018, Years & Years released the official music video for "All For You", featuring an angelic version of Alexander dancing within an abandoned warehouse before transforming into a demonic version of himself and engaging in a dance-off with an android.[49]
Alexander collaborated with the Pet Shop Boys on their 2019 single "Dreamland"[50] and later released a cover of "It's a Sin" to coincide with his starring role in the drama series of the same title.[51]
On 18 March 2021, Years & Years became Alexander's solo project.[52][53] In July 2021, Alexander was announced as one of the five musicians hosting BBC Radio 1's Future Sounds show for the month of August and early September alongside Arlo Parks, YUNGBLUD, Charli XCX and Tom Grennan. Annie Mac, who hosted Future Sounds, left the radio station in late July after spending 17 years there.
On 16 December 2023, during the final of the twenty-first series of Strictly Come Dancing, it was announced that Alexander would be representing the United Kingdom in the Eurovision Song Contest 2024.[54] Following the announcement, he told the BBC that he'd "wanted to do it for a while" and it "felt like this was the right time to start releasing music under my name".[55] Years & Years' back catalogue was re-named to "Olly Alexander (Years & Years)" on streaming services.[56][non-primary source needed] His Eurovision competing entry, "Dizzy", was released on 1 March 2024, and marked Alexander's first release under his own name.[5][6] Alexander performed "Dizzy" at the first Eurovision semi-final on 7 May 2024, making the UK the first pre-qualifying country to perform in a semi-final. Alexander came 18th in the contest final on 11 May 2024 scoring 46 jury points (13th) but zero from the public vote (25th).[57]
Advocacy, politics and personal life
[edit]
Through various interviews and charity campaigns, Alexander has promoted safer sex and HIV screening,[58] and supported initiatives against LGBT bullying.[59] He has also spoken openly about his own struggles with depression, self-harm,[60] eating disorders[61] and anxiety from age 13 onwards.[62][63][64] He is gay, and in 2017, he presented a BBC Three documentary investigating the link between being gay and the development of mental health disorders. In it, he opened up about his bulimia. In 2018, Alexander was part of Sport Relief's attempt to raise awareness of mental health alongside other celebrities Nadiya Hussain and Stephen Fry.[65]
Alexander describes himself as a "real left-winger" and said in 2016 that he "had a crush on" Labour Party leader Jeremy Corbyn.[66][67] Beginning in May 2015, Alexander was in a relationship with musician Neil Milan Amin-Smith, who was in Clean Bandit. Due to scheduling conflicts while on tour and recording, they parted at the end of 2015.[68] At the 2016 Glastonbury Festival, Alexander took to the stage with his band Years & Years in rainbow ensemble in celebration of PRIDE Week and made headlines with his spur-of-the-moment speech[69] in light of the Orlando nightclub shooting.
In September 2018, Alexander won GQ's Award "Live Act Of The Year".[70] The award was presented to him by Héloïse Letissier, and in his acceptance speech, Alexander advocated for the LGBT community and Mental Health Awareness Month, particularly in regard to men.[71] In the same month, Alexander took part in a video campaign "The Flag We Shouldn't Be Proud Of" for World Suicide Prevention Day, holding up a rainbow flag with two colours ripped from it, and was quoted: "This is the flag we shouldn't be proud of. A flag that represents the two in six LGBTQ people we risk losing to suicide."[72]
In October 2018, British GQ posted an interview[73] between Alexander and Alastair Campbell in which he spoke about his struggles with self-harm and eating disorders, his experiences in 2018 with homophobia, and his political views on Brexit and Donald Trump. In the interview he said he voted Remain in the 2016 referendum, supported Corbyn as Prime Minister and called Trump "repugnant" and "repulsive".[74] During Years & Years' performance on the Pyramid Stage at the 2019 Glastonbury Festival, Alexander gave a speech promoting LGBT rights and calling for the elimination of racism, ableism and sexism. The speech earned praise from fans and media.[75]
In protest at the ongoing Israel–Hamas war, Alexander signed a letter by LGBT association Voices4London, which accused Israel of committing apartheid and genocide against the Palestinians.[76][77] Spokespeople within the Israeli government and the Campaign Against Antisemitism condemned his views and asked the BBC not to allow him to perform at the Eurovision Song Contest 2024, while the BBC rejected the demands, stating that it was not in a position to do so with someone who is not a journalist.[78] In March 2024, Alexander rejected calls to boycott Eurovision because of Israel's participation.[79]
Achievements
[edit]
In June 2020, in honour of the 50th anniversary of the first LGBT pride parade, Queerty named him among the 50 heroes "leading the nation toward equality, acceptance, and dignity for all people".[80][81] In November 2020, Alexander won the LGBT Celebrity of the Year award at the British LGBT Awards.[82]
For his leading role in It's a Sin, Alexander was nominated for a Critics' Choice Television Award for Best Actor in a Limited Series or Movie Made for Television and the British Academy Television Award for Best Actor.[83][84]
In 2024, he received a gold Blue Peter badge in recognition of his music.[85] That year, he also broke the Guinness World Record for most objects caught whilst spinning on a chair in one minute with a total of 27, which was inspired by his Eurovision entry "Dizzy".[86]
Discography
[edit]
For Olly Alexander's discography as a member of Years & Years, see Years & Years discography.
Compilation albums
[edit]
Title Description Odyssey[87]
Released: 3 May 2024
Label: Polydor
Formats: streaming, digital download
Singles
[edit]
List of singles Title Year Peak chart positions Album UK
[88] LTU
[89] SWE
Heat.
[90] "Dizzy" 2024 42 12 1 Odyssey "Kite"
(with Benjamin Ingrosso) — — — Non-album single "—" denotes a single that did not chart or was not released in that territory.
Filmography
[edit]
Film
[edit]
Year Film Role 2009 Bright Star Tom Keats Tormented Jason Banks Enter the Void Victor Dust Elias 2010 The Fades Himself Gulliver's Travels Prince August The Dish & the Spoon Boy 2012 Cheerful Weather for the Wedding Tom Great Expectations Herbert Pocket 2013 Le Week-End Michael 2014 God Help the Girl James The Riot Club Toby Maitland 2015 Funny Bunny Titty
Television
[edit]
Year Title Role Notes 2008 Summerhill Ned 2009 Lewis Hayden Wishart "Allegory of Love" 2013 Skins Jakob "Skins Pure (Part 1 & 2)" 2014 Penny Dreadful Fenton 2 episodes: "Resurrection" and "Demimonde" 2017 Growing Up Gay Presenter Documentary 2019, 2021 Celebrity Gogglebox Himself 6 episodes 2021 It's a Sin Ritchie Tozer Main role (5 episodes) Ant & Dec's Saturday Night Takeaway Himself Series 17 guest announcer 2022 RuPaul's Drag Race UK Series 4 guest judge 2024 EastEnders Guest appearance (1 episode) Eurovision Song Contest 2024 Contestant
Theatre
[edit]
Year Title Theatre September–October 2010 The Aliens[91] Bush Theatre March–April 2012 Mercury Fur Old Red Lion Theatre March–June 2013 Peter and Alice Noël Coward Theatre
Corporate video
[edit]
Year Film Role 2013 Google Analytics in Real Life Site Search Demanding Shopper
References
[edit]
Olly Alexander discography at Discogs
Olly Alexander at IMDb
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https://earlyblues.org/blues-what-is-the-blues/
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Blues – What Is The Blues? – Welcome to Earlyblues.org
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https://earlyblues.org/blues-what-is-the-blues/
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‘What is the Blues?’
Definition / meaning of the blues and what does the blues mean to you? – compiled by Alan White
What Is The Blues?
“It starts with the sound, the totality of the performance. A sound so unlike anything else that it fascinates from the first hearing, stirs recognition and a sympathy the listener didn’t know he possessed. The words don’t register at first, not at least on a conscious level, but the emotion does. The message is often simple, so simple that graduations of meaning only become apparent after the initial intrigue has subsided. The emotion can be palpable, so much so that when set alongside other forms of music, it seems as histrionic as grand opera. You’ve discovered the blues”.
– Neil Slaven, author, record producer and leading authority on the blues
So, what is the blues? A question often asked but can anyone define the blues, the meaning of the blues?
“Blues is such a protean and flexible mode of expression that it almost defies any attempt to pin it down with a concise definition. …. For some people the blues can be defined by the example of a single song or a single personality. Such simplistic definitions don’t get us very far….. blues attracts many different personalities, has had many great and creative artistic figures over the years, expresses many moods and subjects, and occurs in many different styles”.
– David Evans, Professor of Music, University of Memphis, blues researcher, author and director of ethnomusicology specialising in southern UK folk and popular music. (Source: The National Public Radio Curious Listener’s Guide to Blues, published by Perigree Books).
Well, to delve a little deeper, let’s start by taking a look at some early definitions from authoritative authors / books on the subject …
Firstly from the very first book to be published on ‘blues music’ – the emotional view:
‘The Country Blues’ by Sam Charters, Published by Rinehart, 1959.
A Music “… Extraordinarily Wild and Unaccountable”, the opening paragraph starts (slightly edited with more acceptable terms than in 1959):
“The blues, as a distinctive musical form, is probably not much older than the years before the First World War, but the style and emotions of the blues have been a part of the music of the African American in America for over 150 years. A blues is a personal song, with intense personal emotional characteristics. The blues became the emotional outlet for African American singers in every part of the South, and as the rich confusion of music from the fields began to fall into loose patterns, the blues became a part of the fabric of African American life itself”.
Secondly from the second book to be published on ‘blues music’ – the more technical view:
‘Blues Fell this Morning: The Meaning of the Blues’ by Paul Oliver, first edition published by Cassell, 1960 (second edition published by Cambridge University Press, 1990).
“Blues is the name given to both a musical form and a music genre that originated in African-American communities of primarily the Deep South of the United States at the end of the 19th century from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads. The blues form, ubiquitous in jazz, rhythm and blues, and rock and roll, is characterized by specific chord progressions, of which the twelve-bar blues chord progression is the most common. The blue notes that, for expressive purposes are sung or played flattened or gradually bent (minor 3rd to major 3rd) in relation to the pitch of the major scale, are also an important part of the sound. The blues genre is based on the blues form but possesses other characteristics such as specific lyrics, bass lines and instruments. Blues can be subdivided into several subgenres ranging from country to urban blues that were more or less popular during different periods of the 20th century. Best known are the Delta, Piedmont, Jump and Chicago blues styles. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience. In the 1960s and 1970s, a hybrid form called blues-rock evolved. The term “the blues” refers to the “blue devils”, meaning melancholy and sadness; an early use of the term in this sense is found in George Colman’s one-act farce Blue Devils Though the use of the phrase in African-American music may be older, it has been attested to since 1912, when Hart Wand’s “Dallas Blues” became the first copyrighted blues composition. In lyrics the phrase is often used to describe a depressed mood”.
Since then there have of course been various eminent works on the subject of the blues over the years but what are the modern views? How is ‘the blues’ or ‘meaning of the blues’ or even ‘what the blues means to me’ defined or viewed today?
Let’s start at looking at modern day views by taking a look at what Wikipedia says about ‘The Blues’:
“Blues is a music genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, and European folk music. Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. The blues form, ubiquitous in jazz, rhythm and blues and rock and roll, is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes (or “worried notes”), usually thirds or fifths flattened in pitch, are also an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove.
Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, and then a longer concluding line over the last bars. Early blues frequently took the form of a loose narrative, often relating the racial discrimination and other challenges experienced by African-Americans.
Many elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. The origins of the blues are also closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is often dated to after the ending of slavery and, later, the development of juke joints. It is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century. The first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a hybrid form called blues rock developed, which blended blues styles with rock music”.
Next, another (summarised) view of ‘the blues’ from the ’mojohand’ website (www.mojohand.com):
“Blues is an African-American music that traverses a wide range of emotions and musical styles. “Feeling blue” is expressed in songs whose verses lament injustice or express longing for a better life and lost loves, jobs, and money. But blues is also a raucous dance music that celebrates pleasure and success. Central to the idea of blues performance is the concept that, by performing or listening to the blues, one is able to overcome sadness and lose the blues…. Blues remains with us in contemporary American culture, and as a traditional musical form it has been subjected to countless revivals and reinterpretations. Its current practitioners often integrate the sounds and instrumental pyrotechnics of rock music and the sheen of urban soul; but the twelve-bar form, variations on the blues chord progression, and emotive lyrical content remain relatively unchanged”.
Now let’s take a look at some quotes from blues artists and their various takes on the blues, either from publications or personal interviews:
‘What the Blues Means to Me’ by Doug MacLeod, ‘Break The Chain’ – Reference Recordings 2017 (Reproduced here with the kind permission of Doug MacLeod & Reference Recordings)
“You know a lot people think about and talk about the meaning of this Music called Blues, I mean, Willie Dixon he said “Blues is the true facts of life” he’s right about that. Brownie McGee said “Blues is truth”. Now I don’t remember exactly when it happened but I do remember that it did happen. I was playing with a mentor of mine named George ‘Harmonica’ Smith and we were playing in this bucket of blood joint somewhere in California, we were playing this slow blues and I felt goose bumps go up my arm.
I was just a young man then you know, and something hit me, you know there is more going on in this music than just 3 chords but I was so young I didn’t know what it was.
Later on, many years later, I was in Holland, got done with a concert and I was enjoying one of those great Belgian beers over there, you know in the hotel, and it came to me ‘I believe this music called Blues is a music of overcoming adversity, not subjecting to adversity, let me say that again, this is music of overcoming adversity, not subjecting to adversity, I think about who created this music and the conditions under which this music was created.
When I was lucky enough to work with the old Blues man, I saw this in action in one of the ways the old Blues men overcame their adversity was by humour, they loved to laugh. In fact, some of the best shows were in the back room before we even got up to the stage, oh, they’d be laughing and telling the stories, telling the jokes and I’m just sitting there glad to be around them you know, and they just sit there and go ‘well you know we’re just glad to be laughing to keep from crying’ and I’d sit back there and I’d say that’s a bunch of old guys talking, now I know exactly what they were talking about.
So every concert that I play I give this advice, I say ‘Tomorrow morning before you leave your bed, pack your sense of humour, go into this world being able to laugh at this world, but more importantly, be able to laugh at yourself, you’re going to live longer and you’re going to look better, and you’re going to love longer looking better living longer, all you’ve got to do is pack your sense of humour.
So the next time you’re on the highway, the freeway and some fool cuts you off, don’t get mad, don’t get upset, turn up some good music, sit back and say ‘thank God I’m not married to that’ hmm, hmm. A little bit of humour will help you overcome adversity and not subject to adversity”.
‘What are the Blues or how do you define the Blues?’ – Bluesdoodles interview with Sonny Landreth
“For me main thing about the blues if you take an overview it is such a profound experience again speaking culturally again. It is Grace in the face of adversity. Lot of the kids coming up they learn the licks try and get across to them they need to study the history of the players and the time they lived and what they were going through. It is the back story that is so important and all of them that as a common denominator overcoming challenges. That is why Blues is a universal language, it is something people all over the world relate to. It is these challenges really the things that unite us, I think that is why it resonates with people everywhere. It will always be pertinent, always evolve, will have new players. A lot of the old guard we have lost; not many left at all. That is probably true of all folk music or music that is important of the people. When I say folk music I literally mean music comes from people and their lives, big part of history there that’s when you factor that into story songs it becomes a richer experience that to me is profound. …. Part of it is all the trials and tribulations and my God! The things that people went through was just horrific and beyond belief. But they would turn to music and they would express, there would be a release in that expression that joy in the moment a thing to have, there is something about that connection that does make it so profound. It is not just another fad or pop song sells in the moment but doesn’t equate to the test of time and that is the big difference. Great music to me is music that stands the test of time”.
‘What the Blues Means to Me’ – Dana Gillespie, The Hindu, 25th November 2015:
“To me, blues is spiritual. Audiences have a misconception that the blues is depressing music. It is not. It is all about emotions and rhythms. On stage, you will always see me moving around, swaying to the beat, feeling the music through my body. My style of blues is upbeat and danceable, and I love seeing people come out and have a great time.”
‘What Does The Blues Mean To You?’ – Earlyblues.com Interview with Ian Siegal:
“Oh, that’s a horrible question! I guess it depends how you look at it and I could say that it’s my life and my living but it’s my passion too, not just blues but country and all American roots music is just incredibly important to me and to everybody. It’s a vital expression of the human condition and it continues, it survives. It’s great to see Lucy Zirins, a young English girl getting up and playing resonator guitar and playing the blues. You’ve got young guys, Scott McKeown and all these young kids playing and it proves the importance of blues and how it transcends generations”.
‘What Does The Blues Mean To You?’ – Earlyblues.com Interview with Alan Nimmo:
“Blues to me is something that comes from inside. I love music, I’m a musician, guys like us suffer for our art! I don’t need the violins for that but Blues is my life. I often say that I have a home and a life at home but I’m more aware and familiar with …. I still live in a bag at home, I’ve got a wardrobe sitting there that’s empty. You can get used to travelling and as you get a bit older you do get a wanting to stay at home more and do normal things that normal people do. But I know it’d only take me five minutes of that kind of life and I know I’d have to get back to this”.
‘What Does The Blues Mean To You?’ – Earlyblues.com Interview with Norman Beaker:
“It’s a fantastic way of venting your feelings when you are playing, more so than a lot of music. It’s mainly ad-libbed so you get a lot of yourself into it. I always think that musicians, given a chance, pretty much play the way they are in real life. You know, if they are a bit shy like Peter Green, he plays in a very withheld way but if you’re more outgoing and crackers like me then you play in that sort of cheeky way. So I think it’s a way of getting your personality out”.
‘The Blues is Always With Us, Why Do You Think That Is?’ – Earlyblues.com Interview with Doug MacLeod
“It’s honest. It’s real. And it talks about what everybody feels. There is no colour in this music or in listening to it. And there shouldn’t be no colour in the playing. If you play it with your heart, you play with your soul, and there shouldn’t be no colour. The blues is all about people. Blues is what we all go through – the simple basic emotions that each of us deal with every day. You want somebody to love you; you want somebody to love; you want some food on table; you want a nice place to live; you want your kids to be alright, you want the basics and the blues speaks to that. It also makes you celebrate life”.
‘What Does The Blues Mean To You?’ – Earlyblues.com Interview with John Steel (The Animals):
“Whilst appreciating trad jazz there was what you would call ‘classic blues’ like Bessie Smith and people like that. Then, once you get into rock ‘n’ roll, again similarly with jazz as it was with rock ‘n’ roll, where you start looking behind and asking “where did that come from?”. One of the first rock ‘n’ roll records I bought was ‘Shake Rattle and Roll’ but I pretty soon discovered that Bill Haley didn’t write it, he nicked it off Big Joe Turner and then you start thinking “well, what else is back there” and you start digging and finding Muddy Waters and guys like that. Then there were contemporary players in America – black guys who were playing rock ‘n’ roll were a lot different to the white guys you know. You get Elvis Presley doing Hound dog, then you start thinking “where did that come from?” and it’s Big Mama Thornton and so on. Then you listen to Chuck Berry and Little Richard and Fats Domino you think “Oh, I’ll just go that way!”.
‘How Do You See The Future Of Blues Music?’ – Earlyblues.com Interview with Ana Popovic:
“I think there will always be people who will want to play and respect the roots and there will always be people who try something new and come back to the roots. The roots of blues are luckily recorded and available all over the world, and I think there will be more and more people who are influenced by it and fall in love with this style. It will go both ways in that a lot of new things will come out of the roots and there will be people who will carry on researching it. My way is always trying something new but making sure there are a couple of roots blues songs on every show which are played exactly like they should be played – simple and right to the point. I keep my touch on the roots by playing some acoustic stuff, Elmore Jones, Howlin’ Wolf, T-Bone Walker on every show. Then I give myself freedom to go and explore different styles but I make sure I don’t forget the roots”.
‘What first attracted you to the blues and what does the blues mean to you?’ – Earlyblues.com Interview with Red Butler
Alex: “The blues fascinates me because of the voices and musicianship involved. I love the history of its development. As for what it means to me now … the blues has become such an eclectic mix I find it hard to pin down what defines it (if anything) but I would say that whatever music I listen to I always listen for melody and stories in the music first rather than technical proficiency”.
Jane: “I had a ton of albums I would listen to as a child. It’s been said before but blues is ‘healing music’ to me”.
Charlie: “Blues to me is the foundation of music. Music should make you feel emotion and that’s exactly what blues is all about!”
Mike: “Again it came through friends, and it was when we got hold of an SRV album for the first time. His music (guitar playing and voice) really leapt out of the speakers and has stayed with me ever since. I don’t think it’s any one thing, there are so many different types and styles of ‘blues;, especially today, I just want to hear music that is played with passion and real feeling, and that can be found in blues”.
Next a few quotes from eminent blues artists:
“The blues are the roots and the other musics are the fruits. It’s better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues”.
– Willie Dixon, ‘I Am The Blues’, published by DaCapo Press, 1990
“The whole of life itself expresses the blues. That’s why I always say the blues are the true facts of life expressed in words and song, inspiration, feeling and understanding”.
– Willie Dixon, ‘I Am The Blues’, published by DaCapo Press, 1990
“Blues is not a dream, Blues is truth”
– Brownie McGee, ‘The Guinness Who’s Who of the Blues’ , published by Guinness Publishing, 1993
“The blues are not wrote, the blues are lived”
– Johnny Shines, ‘The Guinness Who’s Who of the Blues’ , published by Guinness Publishing, 1993
“The blues tells a story. Every line of the blues has a meaning”.
– John Lee Hooker
“Particularly with the blues, it’s not just about bad times. It’s about the healing spirit”.
– Taj Mahal
“Folk music is the music of the working class, the music of the folks. Blues is folk music”
– Otis Taylor – CD sleeve notes ‘Fantasizing About Being Black’ – 2017
“To me, blues takes the place of religion”
– Jay Farrar – Blues Matters! Issue 97
“All the blues greats took chances and developed their own style. They didn’t copy”
– Robert Cray
Now it’s over to you, the reader.
Do you have any comments, views, thoughts that you would like to share?
Please feel free to email me at alan.white@earlyblues.com .
I look forward to hearing from you.
______________________________________________________________________________
All images courtesy Alan White (www.earlyblues.com), except Sonny Landreth, photo by Travis Gauthier.
Quotes from Bluesdoodles courtesy Liz Aiken.
Quotes from Earlyblues.com courtesy Alan White.
Quote from ‘Break The Chain’ – Reference Recordings 2017 courtesy Doug MacLeod & Reference Recordings.
Wikipedia references used under the Creative Commons Attribution-ShareAlike License;
All sources (where known) quoted in situ.
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Seattle Public Schools Shout Outs
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2024-07-10T09:29:56-07:00
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We’re celebrating students and staff whose accomplishments go beyond the classroom.
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Seattle Public Schools
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https://www.seattleschools.org/news/sps-shout-outs/
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Submit a Shout Out
If you know a someone who deserves to be in the spotlight, let us know at goodnews@seattleschools.org.
July SPS Recognitions
School is out for the summer but that doesn’t mean SPS is out of Shout Outs!
SPS Students Win 2024 Stim Bullitt Civic Courage Scholarships
Congratulations to West Seattle High School’s Leah Morgan who took first place in the Stim Bullitt Civic Courage Scholarship essay writing competition. Lincoln High School’s Tali Chang-Hong Braester was a runner-up. Both won tuition support from the Foundation by writing essays on courageous Washingtonians who improved their communities by fighting for their ideals.
Morgan, who will attend the University of Maryland, won a $5,000 scholarship while Braester took home $2,500. They will attend the University of Washington.
In its 11th year, the Stim Bullitt Civic Courage Scholarship honors the legacy of the late library supporter, community leader, and activist Stimson Bullitt, who believed that civic leadership could make a lasting positive impact on society. The contest challenges local high school and college students to write an essay about an individual or group from our state who demonstrated the courage to advance an important community issue at great personal, political, or professional risk.
The Seattle Public Library Foundation received essays from students representing seven Seattle public high schools: Ballard, Garfield, Ingraham, Lincoln, Nathan Hale, Roosevelt, West Seattle.
Each year, $10,000 is divided among three outstanding students, and their essays are permanently cataloged in The Seattle Public Library’s Seattle Room.
Read the essays:
Leah Morgan: “Jeanette Williams: An Unstoppable Force”
Tali Chang-Hong Braester: “Pulling the Thread”
National Merit Scholar
Shout out to Cyrus Edwards who was awarded the National Merit Carleton College Scholarship. Edwards, who graduated from Garfield High School in June, plans to study astrophysics.
Edwards was among the more than 2,900 winners of National Merit Scholarships financed by U.S. colleges and universities. These awards provide between $500 and $2,000 annually for up to four years of undergraduate study at the institution financing the scholarship.
College-sponsored Merit Scholarship winners are a part of the distinguished group of more than 6,870 high school seniors who will receive National Merit Scholarships for college undergraduate study.
Superintendent Jones Among Top 100 Influencers in Education
Congratulations to Superintendent Brent Jones who was named a Top 100 District Administration (DA) influencer!
The DA 100 influencer list recognizes the country’s most influential, impactful leaders and innovators in K-12 education.
Dr. Jones was recognized for his dedication to ensuring all students thrive by transforming organizational culture and redesigning preK-12 systems and supports.
Read more about Dr. Jones’ DA 100 recognition
June SPS Recognitions
Just because the school year is almost over, that doesn’t mean the accolades are slowing down. Across the district, students and staff are still shining a spotlight on SPS by winning awards, scholarships, prestigious internships and more!
Cleveland STEM’s Claire Abe Named SPS Counselor of the Year
Seattle Public Schools’ Department of College and Career Readiness selected Cleveland STEM High School’s Claire Abe as the School Counselor of the Year. This program honors the best counselors in the district – those who provide excellent service in their comprehensive school counseling programming.
Abe is in her 10th year as a school counselor; six of those spent at Cleveland. Before becoming a counselor, she was a social worker for the district. Abe is a force as she advocates for students’ needs at multiple levels, including the school board, city council, and at Cleveland STEM.
“I feel honored to receive this award, but it would not be possible without the support and collaboration of so many amazing staff members at Cleveland,” Abe said. “I especially want to recognize my counseling department colleagues, Napsiyah Sallee, Chloe Kimiai, Michael Okumoto, and Kelly Tagupa. Any accomplishment made is due to our counseling team’s collaboration, hard work, and dedication for our students. I feel very fortunate to be a part of the best counseling team in the district.”
Nominations for Counselor of the Year are submitted by the community and voted on by other district counselors.
Taking Flight
The Museum of Flight awarded more than $150,000 in scholarships to four Seattle Public Schools seniors for post-secondary education and flight training during a ceremony held at the Museum on May 9. The scholarships are awarded each year to students who have participated in The Museum of Flight’s education programs.
Thien Thang, a senior at Garfield High School, was awarded the 2024 Frank “Sam” and Betty Houston Post-Secondary STEM Education Scholarship. The prize is worth $120,000 towards a degree related to aerospace. Thang will attend the University of North Dakota and major in Commercial Aviation. His goal is to become a commercial airline pilot.
The Center School’s Sam MacCarthy-Grant and Ryder Waltmire from Ballard High School both received $14,000 flight training scholarships. MacCarthy-Grant will attend Green River College where he will study Aeronautical Science. Waltmire will attend the University of North Dakota and major in Commercial Aviation – Fixed Wing and Airport Management.
Roosevelt High School’s Ian Tarrago was awarded a $5,000 Stuart Knopp Memorial Scholarship. Tarrago will attend Embry-Riddle Aeronautical University and major in Aeronautical Science – Fixed Wing.
17 SPS Educators Earn National Board Certificate
Recognized as the gold standard in teacher certification, the National Board believes higher standards for teachers means better learning for students.
National Board Certification is a voluntary assessment program designed to identify, recognize and reward accomplished teachers who meet high and rigorous standards based on what teachers should know and be able to do.
Seattle Public Schools has more than 700 Nationally Board-Certified teachers. Currently, OSPI offers a $5,000 yearly stipend for obtaining National Boards; $10,000 if teaching in a high needs school.
Congratulations to these SPS teachers who earned their National Board certificate.
Christine Boyll, Literacy: Reading-Language Arts/Early and Middle Childhood
Erica DeJong, Exceptional Needs Specialist/Early Childhood Through Young Adulthood
Grace Fennimore, Generalist/Early Childhood
Sarah Fingado, Literacy: Reading-Language Arts/Early and Middle Childhood
Rebecca Hultman, Physical Education/Early and Middle Childhood
Toby Jarman, Exceptional Needs Specialist/Early Childhood Through Young Adulthood
Sara Job, English Language Arts/Early Adolescence
Ailena Jones, English Language Arts/Adolescence and Young Adulthood
Rachael LeValley, Literacy: Reading-Language Arts/Early and Middle Childhood
Ana-Claudia Magana, English Language Arts/Adolescence and Young Adulthood
Colleen McGinley, Literacy: Reading-Language Arts/Early and Middle Childhood
Emily O’Brien, English Language Arts/Adolescence and Young Adulthood
Marites Perez, Generalist/Early Childhood
Anna Quinn-Shea, English as a New Language/Early and Middle Childhood
Christina Russell, English as a New Language/Early Adolescence Through Young Adulthood
Claire Tramba, Exceptional Needs Specialist/Early Childhood Through Young Adulthood
Grace Wedgwood, World Languages/Early Adolescence Through Young Adulthood
Queen Anne Student Selected for School Safety Patrol Hall of Fame
Wolf Geide, a 5th grader at Queen Anne Elementary, was recently chosen for induction into the 2024 AAA School Safety Patrol Hall of Fame. Wolf’s dedication to traffic safety, community stewardship and leadership earned him the prestigious honor.
“Wolf has exhibited exemplary patrol behavior, knowledge and responsibility,” said School Safety Patrol Advisor, Josie Haley. “He doesn’t hesitate to let parents know they are not allowed to park close to the school crosswalk by knocking on their window and telling them that their parking isn’t safe for their child or the patrollers. He always a friendly and responsible patroller!”
Wolf will be recognized at a school assembly on Monday, June 10.
Kingmakers Program Receives $25K Gift
Kingmakers of Seattle recently received a $25,000 gift from First Interstate Bank and the First Interstate BancSystem Foundation as part of their third-annual Believe in Local grant campaign. These funds will be deployed to address the needs of young Black boys in this elective program taught by Black male facilitators.
“We are incredibly appreciative of First Interstate’s generosity and support,” said William King, program coordinator. “This donation helps us to further our mission of supporting the cultural, historical, social, and emotional needs of young Black boys and teens as it relates to their identity. We’re thankful to have dedicated partners like First Interstate working with us to support and strengthen our community.”
Each year, 40 non-profit organizations receive a $25,000 gift from First Interstate Bank in support of their mission. Kingmakers of Seattle was nominated by local First Interstate employees and selected from a pool of over 550 submissions thanks to its alignment with the Bank’s philanthropic goals.
Cleveland STEM Sophomore Selected for NASA Internship
August Sorenson, a 10th grader at Cleveland STEM High School, has been selected for the prestigious Student Enhancement in Earth and Space Science (SEES) summer internship to be held at The University of Texas at Austin’s Center for Space Research.
Sorenson will work with scientists and engineers to conduct authentic research and developing experiments for the ZQube, a small cubesat satellite. Students will have the opportunity to develop an experiment that will fly on the Zero G aircraft in microgravity. SEES is a collaborative effort of The University of Texas at Austin’s Center for Space Research and NASA.
Over 500 10th grade applications were received for the coveted 50 on-site internship positions. Selected students will come together July 27 at The University of Texas at Austin.
Special Education Teacher Receives Presidential Honor
Kelly Walker, a special education teacher with the BRIDGES Program, recently received the President’s Volunteer Service Award. The recognition came with a letter signed by President Joe Biden.
Walker oversees BRIDGES 1, a transition program for students with disabilities, at the Swedish Hospital First Hill Campus. The hospital recognized Walker, along with BRIDGES job coaches Steve Pritchard and John Anderson, at its annual Swedish Medical Center Volunteer Appreciation Celebration in April. The a
The President’s Council on Service and Civic Participation founded the President’s Volunteer Service Award in 2003 to recognize the important role of volunteers in America’s strength and national identity.
Through her work with the BRIDGES program, Walker racks up an impressive amount of volunteer hours. She’s been at Swedish since 2017.
West Seattle Chamber of Commerce Honors Madison Teacher
Mike Kreiger, a social studies teacher and coach at Madison Middle School, was named Westsider of the Year by the West Seattle Chamber of Commerce.
The Westside Awards honor leadership in entrepreneurship, innovation, and community impact, highlighting the achievements and contributions of businesses and individuals within the West Seattle community.
Kreiger is seen as a “community champion” and is involved with several programs including 8th graders mentoring newly arrived 6th graders.
Bryant Elementary Students Place in Essay Competition
Two students from Bryant Elementary took 2nd and 3rd place in the World Citizen Essay competition from the World Affairs Council. This year’s prompt was focused on youth advocacy in the United Nations:
“If you had the opportunity to present at the Summit of the Future, WHAT global issue do you feel is the most important to address for your generation and WHY? WHERE is this issue having a significant impact? WHAT would be your action-oriented plan to resolve this issue? HOW could world leaders support this plan?”
Clara Smitherman took second place and Gavin Hamilton placed third. Twenty-five students earned honorable mention. They are:
Elias Kleiner
Wally Stanley
Naomi Nguyen
Henry Branham
Theo Daab
Theo Fiori
Ian Darby
Astrid Bonnett
Eleanor Evans
Edie Sturdivant
Lee Hoopes
Rob Dunn
Ben Schade
Hunter Allen
Andrew Elleman
Sammy Frankson
Lily Goodnoe
Liam Hamilton
Tula Hanoch
Max Henry
Noah Kim
Ocean Matson-Gertsev
Sonja Rasmussen
Iris Salisbury
Russell Weiss
May SPS Recognitions
We’re shining a light on an award-winning science student and community partners who are working to keep the Earth green and clean. We’re also highlighting students and staff who excel in teaching and learning.
JAMS Student Advances to National Science Fair
Adeline Okada, a sixth grader at Jane Addams Middle School won big at the Washington State Science and Engineering Fair in Bremerton in April.
Okada was one of 23 students from JAMS to compete. This is the school’s fourth year to attend, and it was their largest group yet. Eighth graders Tenzin Tsundue and Harper Groblewski have both competed in the science fair all three years at JAMS.
The science fair is open to all students at JAMS and projects range in diversity from psychology to environmental science to chemistry in both science and engineering categories. Five projects took home grade level awards and two took home special awards.
Okada’s project on learning to code to track invasive species won a grade level award, a special award, and was nominated to compete in the Thermo Fisher Scientific Junior Innovators Challenge where she will go up against 1,800 students nationwide.
Concord Elementary Celebrates Earth Day and Play Equity
Students and families had a fun time celebrating Earth Day and play equity at Concord Elementary. They were able to participate in Earth Day activities and learn about conservation from the Duwamish Valley Sustainability Association and Environmental Protection Agency.
Students also got to sample sports with Seattle pro sports teams—which included football, basketball, baseball, hockey and rugby—and learn all about the final design and construction phase for Concord’s Puma Playfield.
Wing Luke Students Win Free Bikes
Congratulations to the 49 students at Wing Luke Elementary, where they were randomly selected to receive new bikes and helmets at a schoolwide bike giveaway assembly. The bikes were donated by Seattle Seahawks player Jamal Adams.
The surprise was a community effort with school staff and students along with volunteers from the South Seattle Bike Bus and The Bikery who helped assemble the bikes while Seattle Department of Transportation provided bike safety gear. All bikes were given a safety check by volunteers before students took their new rides home.
Adams donated another 50 bikes to students at Hawthorne Elementary.
Students are now all geared up and ready to roll for Bike Month in May!
Learn how to participate in Walk & Bike Month
Students and Teachers Honored for Math
Several SPS students and their teachers were honored at the National Council of Teachers of Mathematics (NCTM) Regional Conference in February.
The TODOS Student Awards recognize students from underrepresented groups, particularly Latino students at all levels. Texas Instruments sponsors the awards by providing the students with graphing calculators.
Five SPS students, along with their teacher, were recognized during the ceremony. The honorees and their teachers are:
Jacqueline Bardon, 8th grade and Laura Chang — McClure Middle School
Alexia Cruz, 9th grade and Maria Lopez — Chief Sealth International High School
Natali Mendoza-Hernandez, 11th grade and Maria Lopez — Chief Sealth International High School
Aurora Barrera-Diaz, 12th grade and Starlie Chinen — Seattle Skills Center
Janluca Aguilar-Merino, 7th grade and Ryan Dix — Washington Middle School
The students met at least one of the following criteria:
Has demonstrated sustained success in mathematics;
Has shown significant progress in mathematics achievement;
Has demonstrated leadership in or out of the classroom regarding mathematics education;
Has a specific “mathematics student success story” deserving of recognition (e.g., extraordinary project, overcome obstacles, etc.); or
Has gone “above and beyond” in some aspect of his/her/their mathematics performance.
The students’ teachers wrote a letter of nomination, and each student wrote a response to a prompt about learning mathematics.
Lincoln High School Recognized as Special Olympics Washington’s Unified Champion School of the Month
Special Education Teachers and Unified Liaisons Holly Guy and Sam Ahlers worked tirelessly to get the Unified Champion School program up and running at Lincoln High School. For their hard work, Special Olympics Washington recognized the school’s program as the Unified Champion School of the Month in April.
Families, students, and coaches are also excited about the program and shared the following testimonials:
“Lincoln Unified is the most accepting and fun community I have had the ability to be a part of in Lincoln. It is a place for growing relationships, and learning about the community you may not have been a part of before.” – Student
“Lincoln Unified means inclusion! The big smiles I see at both the practices and games illustrates the fun everyone is having and that is why I enjoy being involved.” – Unified Coach
“Unified is opening doors for inclusion at Lincoln High School! As a parent of both General and Special Education students, I love seeing how Unified events reflect our family’s lived experience… Our high schools are made stronger when teens of all abilities are seen and celebrated as full members of the community.” – Unified Parent
More information about Unified Champion Schools is available on the Special Olympics Washington website.
April SPS Recognitions
Winners Shine Bright Around SPS
It’s a celebration of the arts, a history-making team, and school counselors as Seattle Public Schools students and staff members receive recognition for their hard work.
Hamiliton International School Counselor Wins State Award
Lilia Goldsmith, a counselor at Hamiliton International Middle School, was recently awarded the Equity in Action Award by the Washington School Counselor Association (WSCA).
WSCA expands the image and influence of professional school counselors through advocacy, leadership, collaboration and systemic change at the state level. WSCA’s Equity in Action Award honors a school counselor who has made significant contributions to the advancement of equity in education for students in Washington.
“It was nice to receive recognition for the work I do,” Goldsmith said. “It really caught me by surprise … I always felt that I didn’t need recognition because I love my students, and they are my recognition. When I see my students coming back and they are doing okay, that is my happiness.”
Goldsmith has made significant contributions in advancing equity and supporting students of color at Hamilton International Middle School. According to the nomination, Goldsmith “is dedicated to fostering understanding, respect, and love among students and staff. She actively advocates for equity and anti-racism and her commitment to her community is paralleled only to her accomplishments.”
Roosevelt’s Theater Teachers Earn National Honors
Two Roosevelt High School teachers won national awards for their work with the school’s theater program.
The National Federation of State High Schools (NFHS) named Ben Stuart as its 2024 recipient of the NFHS Outstanding Theatre Educator Award representing all of Alaska, Idaho, Montana, Oregon, Washington and Wyoming.
The inaugural Washington State Thespians Inspirational Teacher Award recognizes theatre educators who have inspired their students and school community by helping them thrive despite unrelenting conditions presented by the world. That award was presented to Katie Greve.
Between the two educators, they teach Beginning, Intermediate, and Advanced Theatre performance classes, Beginning and Advanced CTE Theatre Tech and Costuming classes, and Beginning and Advanced Dance classes.
“Robust theatre classes and programs are some of the most compelling reasons for kids to choose a public school as other alternatives have fewer program offerings,” Stuart said. “Getting to fully produce a show for your community makes theoretical concepts tangible and real life … The social/emotional boost students receive by being a part of a diverse community working together to create something bigger than themselves is the number one reason we believe curricular school theatre is so important.”
Back to the Big Stage: Roosevelt, Garfield Head to Ellington Jazz Band Competition
A round of applause for Roosevelt and Garfield high schools, which were both named finalists in the 29th Annual Essentially Ellington High School Jazz Band Competition and Festival on May 9-11 at the Lincoln Center in Manhattan. The schools are among the 15 finalists for the 2024 competition.
The annual Essentially Ellington competition is one of the most innovative jazz education events in the world. Each year, high school musicians from across North America travel to New York City to spend three days immersed in workshops, jam sessions, rehearsals and performances.
Both Roosevelt and Garfield have each won the competition four times. Congratulations to both schools. You’ve made SPS proud!
It’s a 4-PEAT!!
SPS is celebrating its own brand of March Madness with the Garfield girls basketball team claiming their fourth consecutive WIAA State 3A Girls Basketball Championship at the Tacoma Dome on March 2.
The bulldogs also claimed the trophy in 2020, 2022, 2023—the 2021 tournament was canceled due to COVID.
The City of Seattle invited the team to City Hall to celebrate this historic accomplishment. Mayor Bruce Harrell, a Garfield alum, told the team, “Seize the gift that you have.”
The Bulldogs are the first team in any of the state’s big school classifications to win four titles in a row.
18 Roosevelt DECA Members Earn Spots at Nationals
Students at Roosevelt High School represented big time at Washington DECA’s State Career Development Conference. 110 DECA members participated in competitive events, with 18 students qualifying for the International Career Development Conference in Anaheim, Calif., April 26 – May 1.
DECA is a partnership between students, teachers, parents, and business leaders. This partnership combines educational purpose with real-world business practice and then amplifies it with student passion for a positive and profitable future.
Those qualifying are:
Chapter campaign: Amanuel Woldemedhen, Kate Aliverti
Membership campaign: Avani Shashidhar, Izzy Webb
Financial Team Role play: Alex Patterson, Steiger Dodge
Human Resources Individual Role play: Caleb McCracken
Principles of Finance individual role play: Ayanna Platt
School Based Enterprise – Food: Greta Brumder, Elle Olivier
School Based Enterprise – Retail: Graeme Penfold, Callum Buchanan
Business Finance Individual role play: Devan Harrison, Jack Archer, Jeremy Bond
Retail Merchandising Individual role play: Nolan Owens
Integrated Marketing Campaign-Product: Alisa Christensen, Perrin Somers
February SPS Recognitions
World Language Students Meet China Consulate
Mercer International Middle School and West Seattle High School played host to a delegation of Consulate General of the People’s Republic of China on Jan. 30. The delegation consisted of four leaders: Consul General Zhang Jian and his wife, Madam Zheng Xin, Education Counselor Tang Jun, and Education Consul Cheng Zhen.
The group began the day by visiting a Dual Language Chinese language arts class at Mercer International.
During the visit, students gave presentations and used the time to put their language skills to use in a conversation with Consul General Jian.
At West Seattle, the delegation was greeted by students from the Chinese language classes and the Asian American/Pacific Islander club. Principal Brian Vance shared about the history of the Chinese program and West Seattle High School. The delegation later attended an assembly that focused on celebrating Chinese culture and the Year of the Dragon.
Students demonstrated their Chinese language skills, performed a traditional Chinese song, a dragon dance, Kung Fu, and shared about their own identities and the intersection with Chinese identities.
A round of applause for students and staff who are flying high in the classroom and making a difference around the district.
Garfield, Ingraham Advance to State Robotics Competition
Congratulations to robotics teams at Garfield and Ingraham high schools.
Both teams advanced to the Washington FIRST Tech Challenge State Championship.
The event takes place on Saturday, Feb. 3, on the Amazon campus in downtown Seattle.
Garfield’s Robotics Nonstandard Deviation team (#4042) earned themselves a place in the overall Winning Alliance at a FIRST Robotics interleague competition. They also placed 3rd for the Inspire Award – the competition’s highest category – and received 2nd place for the Design Award.
Eckstein Middle School is Flying High
From researching Earth’s environment to designing experiments for lunar and planetary exploration, schools are invited to join NASA in its mission to inspire the world through discovery. The NASA TechRise Balloon Challenge grants a school team funding, expert advice, a hardware enclosure, and a flight opportunity to launch a small experiment on a stratospheric research balloon in Arizona.
With the help of their teacher and two parents, 17 students from Eckstein Middle School made the cut and were selected to compete in the Balloon Challenge. Teams have until the end of April to complete a high-altitude balloon and will receive money to purchase additional materials.
Eckstein’s team has already had their first meetings with representatives from Future Engineers, TechRise.
Ingraham’s LSU Attends Latino Legislative Day
Thirty students from Ingraham High School’s Latino Student Union (LSU) traveled to Olympia to participate in the Latino Civic Alliance Latino Legislative Day.
Students got a chance to meet Gov. Jay Inslee, as well as state representatives and Univision reporter Jamie Mendez.
They also had the opportunity to present a bill they created to Chief Justice Steven Gonzalez.
The event was held in Spanish, so everyone was able to participate.
The group raised over $2,000 to fund the trip by selling tamales.
January Shout Outs
SPS is celebrating students whose accomplishments go beyond the classroom. Check out these award winners from around the district.
AAMA Celebrates Black Excellence
The Office of African American Male Achievement (AAMA) ended 2023 with a recognition event for students who “show up.”
The We Show Up Awards ceremony honored 12 Black students who continually pour their energy into their academics, their school, the community, and their future. Each student was recognized for their work in Kingmakers, their school’s Black Student Union, WHOLE Mentoring or AAMA’s Family Support work.
Ebrima Dukureh, Franklin High School – Kingmakers and WHOLE Mentoring
Adawnte Holmes, Lincoln High School – Family Support
Stacey Fosha, Cleveland STEM High School – WHOLE Mentoring
Yusuf Abukar, Interagency Academy – Kingmakers
Yehaya Abdalla, Franklin High School – Kingmakers and WHOLE Mentoring
Lloyd Ball, Denny International Middle School – Kingmakers
Yaniyah Oliver, The Center School – Black Student Union
Semai Hagos, Ballard High School – Black Student Union
Eyoub Endris, Rainier Beach High School – Black Student Union
Dominick Pavageau-Curtis, Aki Kurose Middle School – Kingmakers
Ezekiel, Tep, Mercer International Middle School – Kingmakers
Isaiah Shaw, Bridges Program – Kingmakers Alum
“Showing up means different things to different people,” AAMA Program Manager William King said to the crowd. “To me, it starts with self … Because when people see you doing that, then they start showing up as well.”
King said the event was to encourage students to keep moving forward. Honorees were given a certificate and an engraved medal.
Read more about AAMA Dr. Mia Willams, AAMA leader, was recently awarded the NFL 2023 Inspire Change Changemaker award.
Museum’s Pathfinder Creative Team Includes Ballard Senior
For over 40 years The Museum of Flight’s annual Pathfinder Awards have honored Northwest visionaries that have made significant contributions to the development of the aerospace industry.
The Pathfinder Awards Banquet is a high-profile autumn event for the museum that features the current year’s selection of Pathfinders. Ballard High School senior Ryder Waltmire was one of four key student members of the event’s 2023 creative team. Pathfinder Awards co-chair Steve Taylor described the interns and their contributions to the program as “amazing.”
The museum internship is open to high school students if they are enrolled in one of the museum education programs. Waltmire is a student in the museum’s Aeronautical Science Pathway program.
Certified Educators
SPS congratulates the educators who have earned National Board Certifications or renewed their certification this year! Achieving certification is a tremendous accomplishment. There are now more than 700 National Board Certified Teachers (NBCT) and administrators in SPS, and the district ranks 16th in the nation for the number of NBCTs.
National Board Certification requires educators to demonstrate advanced knowledge in their subject area, a deep understanding of students, and advanced skill in their teaching practice. In pursuing certification, educators volunteer to put their teaching skills, content knowledge, and professional practices up against rigorous professional standards.
We commend each of these educators for their commitment to the teaching profession and hard work on behalf of the students they serve. Well done!
November Shout Outs
John Stanford International Gets New Mural
With the help of family and staff racial equity committees and other staff members, John Stanford International is celebrating Black excellence, inclusion and intersectionality with the installation of a new mural.
After almost three years in the making, the “I AM EVERYTHING” mural was unveiled to the John Stanford International school community on Nov. 1. Willie McIntyre, a Franklin High School alumnus, painted the mural.
Principal Sarah Jones said the project and mural are at the core of their work at the school.
“We have an intentional focus on integrating racial equity and ethnic studies into all classrooms,” she said. “We are utilizing the ethnic studies themes, one of which is identity, and the idea of belonging. One way we did this was to use the colors of the Pride flag in the background and to use Spanish, Japanese and Lushootseed (a Native language that is part of the Salish language group).”
Principal Jones expressed her pleasure with how the mural turned out.
“I am so proud of … all the work our teachers are doing in the classroom, and the support and collaboration our families share with us to further our goals.”
West Seattle High School Unified Athletes Selected as U.S. Youth Ambassadors
West Seattle High School sophomores Lizzy Greene and Izzy McKamey were selected as a Unified Pair for Special Olympics U.S. Youth Ambassadors. They are working with Special Olympics North America and 10 other pairs of Youth Ambassadors to help promote inclusion in schools throughout the U.S.
The two spent four days in Washington, D.C. learning from previous youth leaders and developing connections for the next two years of work.
Being a part of Unified Sports has brought out a new side to Izzy. The once-nervous student has taken on a leadership role and has made it her mission to make students feel included.
“I am truly passionate about the work I am a part of through Unified Champion Schools and programming,” she said. “I have learned that I am passionate about spreading inclusion and creating a safe space where all students with all abilities are valued, respected, and their voices heard.”
Lizzy shares a similar experience when it comes to Unified Sports. She loves Unified’s mission of spreading inclusion throughout the school and giving athletic and leadership opportunities to people who might not usually have those opportunities.
“The work that Unified and Special Olympics does within our schools and communities is so important,” Lizzy said. “Unified educates our student body about disability awareness, inclusion, and acceptance … We’re all there to make an impact; it makes me feel so happy.”
Lizzy thinks students of all abilities should get involved with Unified Sports because it’s a place where everyone is welcome.
“It doesn’t matter what your race, gender, sexuality, or ability is … Everyone is working together; everyone is having fun. There are only so many things you can do in high school that make an impact, and Unified is one of them. Unified has brought so much meaning and understanding of others into my life, and I would love for someone else to experience that!”
Bike to Books at Dunlap and South Shore
Bikes and books both expand your world, and now the two are coming together on a street in south Seattle with the help of students from Dunlap Elementary and South Shore PreK-8!
Students from both schools submitted designs for an art competition last spring. The Seattle Department of Transportation (SDOT), in partnership with Seattle Public Library, launched the competition through the Safe Routes to School program. The contest called for students to come up with fun and creative designs for bike symbols that SDOT will install between Dunlap and South Shore.
The path runs for 1.2 miles from Othello Park to the Rainier Beach library and will have space for multiple designs. SDOT is slated to install the artwork in 2024.
Learn more about the Bike to Books project
Pump it Up for Physical Education at Eagle Staff
Two Robert Eagle Staff Middle School Physical Education specialists have been named Physical Education Teacher of the Year at the 2023 SHAPE Washington convention.
Linse Hill was named Middle School Physical Education Teacher of the Year, and Amy Matsen was named Adapted Physical Education Teacher of the Year. Both Hill and Matsen are thrilled to be selected, saying they are proud to serve the students at Eagle Staff.
“We adore our students and their strengths and abilities and being able to watch them grow and learn skills … Every student is unique and brings their own amazing qualities.
The teachers said being able to create an inclusive environment where all students can be successful, learn lifelong habits, games, activities, and have fun is what they strive for each day in Physical Education.
SHAPE Washington is an organization for Health, Physical Education, Recreation and Dance educators. They advocate locally, statewide and nationally to ensure all teachers can provide a high-quality program for students to become health- and physically literate adults.
July Shout Outs
SPS Math Teacher Nominated for National Award
The Presidential Award for Excellence in Math and Science Teaching recognizes educators each year from across the country for their deep knowledge of the subjects they teach as well as their ability to enable students to be successful in those areas.
Sara Rubio, a math teacher at Robert Eagle Staff Middle School, is one of four finalists from Washington state.
“These outstanding educators are creating learning experiences guided by their students’ own curiosity about the world around them,” said State Superintendent Chris Reykdal. “Engaging students with math and science in relatable, real-world ways cements their learning and prepares them for lifelong success.”
National awardees will be announced by the National Science Foundation and the White House at a later time. Those selected as national awardees will travel to Washington, D.C., to attend a series of recognition events and professional learning experiences, receive a certificate signed by President Joe Biden, and accept a $10,000 award from the National Science Foundation.
UW Presidential Scholars
Three SPS students were named University of Washington Presidential Scholars! Haleemah Abdullah (Franklin), Trevon Mitchell (Cleveland STEM), and Kulane Adem (Lincoln) are recognized as young people who focus on the welfare of their communities and those around them.
In addition to possessing a strong orientation towards the common good, all of these scholars demonstrate exceptional promise to become leaders in fields of public service, business, not-for profit organizations, and education. We have high hopes for these scholars as future leaders.
Go Garfield Go!
Congratulations to Garfield High School graduate Daniel Alemayehu, who is now the third Garfield senior to be awarded a 2023 Amazon Future Engineer Scholarship. Daniel joins classmates Vicente Anyaegbu and Chelsea (Hai Yi) Li in receiving the $40,000 scholarship and a paid internship at Amazon after his freshman year of college.
Daniel learned about the award from one of his teachers who added the announcement to the end of a presentation.
The district’s total is now seven graduates in the Class of 2023 to receive the Amazon Future Engineer Scholarship.
What’s That Spell? S-U-C-C-E-S-S
Fourth grader Daisy “Raven” Amrhein, from Cascadia Elementary, placed 4th in the Stride National Spelling Bee in Washington D.C.
Students had the chance to show off their spelling skills in an epic word game with multiple levels. The competition enabled thousands of eligible students in grades 3–12 nationwide to show their knowledge.
Watch Raven in action. (The elementary spelling bee begins at 5:05:56)
June Shout Outs
Spitzer Named School Counselor of the Year
The College and Career Readiness Department selected Carley Spitzer from Robert Eagle Staff Middle School as the SPS School Counselor of the Year. This program honors counselors who are providing excellent service in their comprehensive school counseling programming. Nominations for Counselor of the Year are submitted by the community and voted on by other district counselors.
“Carley has been with Robert Eagle Staff since the doors opened and has consistently championed equity,” one of the nomination letters said. “She is one of the tone setters for our building; the leader that the support team could not perform without.”
Hazel Wolf K-8 teacher Named Inspiring Teacher
Congratulations to Hazel Wolf K-8 teacher Crystal Allenton, who was named one of Disney’s 100 Inspiring Teachers!
Allenton was among 100 educators from 39 different states selected from more than 7,900 applicants to attend the Disney Imagination Campus Celebration at the Disneyland Resort in California. The teachers chosen demonstrate the spirit of creativity and imagination in their classrooms to inspire students and play a key role in shaping the minds of America’s future leaders. Read more about this magical celebration.
51 Seniors Awarded SPS Scholarships
Seattle Schools Scholarship Fund awards ceremony honored 51 graduating seniors on May 11. The award recipients represented every SPS high school and were recognized for their personal tenacity, contribution to their community, and academic accomplishments.
See the list of recipients
Stim Bullitt Civic Courage Scholarship Winners
The Seattle Public Library Foundation awarded three SPS students the 2023 Stim Bullitt Civic Courage Scholarship.
First-place winner Sonia Kamineni (Ingraham High School) and runners-up Cecelia Pyfer (West Seattle High School) and Anne Welman (Ballard High School) each won tuition support from the Foundation by writing essays on courageous Washingtonians who improved their communities by fighting for their ideals.
Each year, $10,000 is divided among three outstanding students, and their essays are permanently cataloged in The Seattle Public Library’s Seattle Room.
This year, the foundation received 26 qualified essays representing students from seven SPS high schools: Garfield (2), West Seattle (4), Chief Sealth, Lincoln (2), Ballard (2), Ingraham, Cleveland STEM.
Meet the winners and read their winning essays
SPS Students Participating in Summer Internships
Several SPS students will join T-Mobile this summer and the following summer for internships in Cybersecurity, User Experience, and Full-Stack Web Development! Upon successful completion of a coding certificate from Edmonds College or Seattle Colleges, these students will have the chance to interview for an entry-level engineering position at T-Mobile’s Bellevue Campus. Congratulations to these students and the others who will be joining this exciting program!
Full-Stack Web Development Program:
Alexis Krueger, Ingraham High School
Cameron Fernandes, Lincoln High School
Harry Son, Chief Sealth International High School
Jasper Boutte, The Center School
Paul Rosales, Lincoln High School
Cybersecurity Program:
Louis Elijah “Eli” Smalls
Salsabila Abu
UX/UI Program:
Nicholas Trout
March Shout Outs
The Backbone of School Buildings: SPS Recognizes Classified School Employee Appreciation Week
Seattle Public Schools salutes the important contributions of classified school employees during Classified School Employee Week, March 6-10, 2023.
Classified employees are the backbone of our education system and are involved in nearly every aspect:
maintaining buildings and grounds
preparing and serving meals
keeping school facilities clean and orderly
assisting in the classroom
performing and conducting research activities
providing information technology and media services
administrative support functions
providing safe transportation
offering secure and healthy environments
and many other specialized services
These dedicated individuals deserve recognition and thanks for the outstanding work they are doing for our school communities. They are instrumental in fulfilling the district’s paramount duty to educate all students. By supporting the learning environment, classified school employees are crucial partners with teachers, families, and administrators.
Shout out a classified school employee from your school community.
Elliot Flavors, Tier 2 Counselor – Lincoln High School
“Elliot brings an enthusiastic energy that both students and staff respond to in positive ways. He makes a point of getting to know students individually starting with their names. Though he is tasked with supporting some of our most at-risk students, he is essentially counselor to the whole school, so getting to know all the students is not an easy task, but he is doing it. In a recent conversation between students after Mr. Flavors had interacted with them, one student asked, “Who was that guy?” One of the other students responded, “Oh, that’s Mr. Flavors. He’s basically a second dad to every student.”
A better endorsement could not be found. To use his own words, Lincoln is “blessed” to have Elliot on staff and working with students.”
– Miste Chandler, Registrar
Gary Bolma, Counselor – Denny International Middle School
“Gary has worked 40-plus years in this field, most of those in this district. He is fabulous with the kids; always makes himself available to them. Getting them into the right classes, helping in the Lunchroom every day, taking time to listen and just be there for them. He is the jewel of our school.”
– Doree Fazio Young, Kitchen Manager
Karla Stanley, Culinary Services – Magnolia Elementary
“Karla cares about our school’s children and making sure their basic need of food is met. She tries her best to make sure no one goes hungry.”
– Benita Hsueh
Ben Forbush & Dave Bjornstedt, Major Preventative Maintenance Department – Seattle Public Schools
“These two are great. We asked for the glazing on the door to Nathan Hale’s KNHC public radio to be repaired. They came quickly, did an amazing job, and were super friendly and personable the entire time. They related to the staff and answered our questions about their jobs so we could better understand their roles. They both deserve ‘hi- fives’ for being not only skilled tradespeople, but awesome individuals.”
– June Fox, KNHC Broadcast General Manager
The Social Emotional Learning (SEL) team – Seattle Public Schools
“The SEL team develops materials, supports schools, provides staff training, and leads practices in support of social and emotional skills instruction. The small, but mighty team of two and a half SEL staff have been running 100 miles an hour from the day they were hired. Hyam Elsaharty, Kai Kunkel, and Mila Paige have all been supporting students, staff, and families through student drug overdoses, violence in schools and community, student suicides, and more. They continue to support staff and school leaders with guidance for student and staff wellness. This skilled and talented team is all heart. They know what is needed and when to step in to offer practical, useful tools. They partner with other teams across the organization to hone their work and improve relationships and outcomes for students. This group is scrappy and knows how to get results!”
– Lisa Love, Manager of Health Education
Shannon Watson, Head Start Area Supervisor
“Shannon has supported Head Start teachers for over 11 years as a Site/Area Supervisor. She is passionate about helping teachers be successful in the classroom, helping them develop new strategies for teaching children to problem solve, scaffolding children’s learning, and resolving conflicts. She is a servant leader who leads by her actions/modeling. The Head Start serves the nation’s 3rd largest group of scholars who experience housing insecurity. She is leading the team by demonstrating the “Head Start Way.” According to her, Head Start Way is where educators treat each other and students like family, and the Head Start community raise their children together. Our youngest scholars are learning and growing each day by her unconditional commitment for Seattle Excellence.”
– Maki Ichikawa, Early Childhood Special Education
Lauren Yoho, Special Education Behavior Specialist
“Lauren Yoho works as a district behavior specialist and helps support schools and students across the district experiencing behavioral disruptions and crisis. Lauren is tireless in her efforts to center student voice while supporting teachers (often teachers who are in crisis themselves and in desperate need of a listening ear). I admire Lauren’s ability to stay calm under pressure and to hold on hope in the toughest of circumstances.”
– Rachel Barrett, Student Support Services
January Shout Outs
New Year, Same Great Teachers
Teacher Appreciation Week is not until May, but that’s not going to stop us from celebrating our fabulous teachers around the district. We are starting the new year with a few of the compliments you gave us about our educators.
Jennifer Dickens, 2nd grade teacher, Magnolia Elementary
“She’s an incredible teacher who creates a supportive learning environment. She communicates with us parents about our child’s academics and social emotional issues. If we ask for support for our child, she is responsive and caring. My child is growing so much from being in her class.”
– Katie Sathre, parent
Hannah Lewis, 7th grade science and yearbook. Washington Middle School
“Ms. Lewis deserves to have the spotlight because she’s a hardworking, amazing, caring, kindhearted, and motivated teacher and person. She loves her students no matter what, and she always makes it a better classroom. She’s super supportive.”
– Grace Elizabeth Miller, student
Elizabeth Wisdom, Spanish teacher and ultimate frisbee coach, Denny International Middle School
“Ms. Wisdom is a teacher I wish I had when I was a student. She knows how to engage with the students and has made learning a new language enjoyable for them. She is a coach as well, giving extra time and energy to the students that play Ultimate Frisbee in the fall and spring! Every player is a better student-athlete thanks to her dedication. Thanks to Ms. Wisdom, middle school is a more vibrant and healthier place for a lot of students and student-athletes.”
– Aaron Utigard, parent
Christine Gero, orchestra teacher and conductor, Roosevelt High School
“She gives so much of herself to the students, to the program, and to the quality of the music. She teaches several classes; she leads the way for students to participate in extra-curricular activities like retreats out-of-town and out of state! She has so much positivity and is an amazing teacher who’s taught me so much.”
– Owen Burke-Brown, student
Do you know someone in Seattle Public Schools who deserves a shoutout? It could be a student, staff member or an entire school! Let us know
November Shout Outs
Shout Outs for Education Support Professionals
Nov. 16 is Education Support Professionals (ESP) Day which includes clerical services, custodial and maintenance services, culinary services, health and student services, para-educators, security specialists, skilled trades, technical services and transportation workers. They are critical members of the education workforce.
ESPs work alongside other caring adults to help our students get what they need to succeed. Seattle Public Schools is proud to honor their contributions because they help keep students safe, healthy, and ready to learn.
Read some of the praise heaped upon our ESPs:
Maria Smith, Office Assistant, Lowell Elementary
“Maria is the center of the school. She is bilingual, brilliant, and patient. She is also organized, smart and a consistent presence for our scholars every day, year after year.”
– Tammy Watson, Lowell Elementary Administrative Secretary
Janice Runner, Front Desk Administrative Secretary, Whitman Middle School
“There is always that person who has institutional knowledge and can get things done. For Whitman Middle School, that person is Janice Runner. “Ask Janice” seems to be the regular response, whether I am in a Friends of Whitman Music meeting or with a group of volunteers trying to determine how to help our school. Janice partners with the PTSA to get information to families and is able to ask for the help our school needs. She definitely deserves to be in the spotlight!”
– Jan Johnson
Juan Zavaleta, ELD Math and Spanish, Ingraham High School
“Juan goes above and beyond to support all his students and takes on leadership roles to support professional development at Ingraham. He creates a positive and welcoming classroom environment by using student voice to guide his decisions on curriculum and expectations. He is a leader on Ingraham’s Race and Equity Team who delivers professional development for Ingraham staff that focuses on ways we can improve our practice to better support students of color furthest from educational justice.”
– Zack Elvig, Ingraham High School Assistant Principal
Do you know a student or staff member who deserves a shoutout? Let us know.
October Shout Outs
Green Lake Elementary Playground Gets ADA Updates
Shout out to the Green Lake Elementary Parent Teacher Association (PTA) who raised over $350,000 to help construct an Americans with Disabilities Act (ADA) accessible playground ramp from the school to their lower playground level.
Green Lake Elementary houses a medically fragile program, and many of its students use motorized wheelchairs or other mobility devices. The new playground is not only accessible to all populations but also has embankment slides accessible to all students and a special spinner that can take wheelchairs.
Playgrounds are an extension of the learning environment, and support the physical, cognitive, social, and emotional development of children.
Although the playground at Green Lake has seen few playground improvements since the school was constructed in 1970, Building Excellence V Capital Levy funding paid for portions of the school’s new play structure. Combined with the renovation of the hillside section of the playground by the PTA, these updates will allow a wide variety of active play options for students of all abilities.
28 SPS Educators earn ELL Endorsements
During the summers of 2021 and 2022, two cohorts of Seattle Public Schools educators completed their English language learner/multilingual language learner or dual language endorsements with the University of Washington.
Eleven SPS educators completed this endorsement in 2021 and another 17 finished in 2022. We are proud of these educators for this accomplishment and their commitment to teaching multilingual learners and growing as teacher learners.
Congratulations to these educators:
This opportunity is funded and provided by a partnership between SPS Human Resources, the SPS Multilingual Department, the University of Washington College of Education, and the City of Seattle Department of Education and Early Learning.
Author visits McDonald International Elementary
McDonald International Elementary School Librarian Susan Finnegan has organized an all-school book club experience centered on “Ways to Make Sunshine” by Renee Watson.
All students received a copy of the book and engaged in discussion questions by chapter daily shared by students during school announcements. To kick off this experience, Ms. Finnegan coordinated with Third Place Books to host Renee Watson at an all-school assembly on Sept. 28.
McDonald students had the opportunity to hear about Watson’s experience as an author and to ask questions. It was an incredible experience for students. Shout out to Ms. Finnegan for making this happen!
Shout out for SPS Principals
October is National Principal Month, and Seattle Public Schools is highlighting some of our amazing school leaders. Read more about some of the amazing SPS school leaders!
September Shout Outs
SPS Students, Staff and Schools Shine Bright
Whether it’s centennial anniversaries, enduring spirits, or Merit Scholarship semifinalists, SPS has no shortage of things to celebrate. We are honoring students and staff whose accomplishments go beyond the classroom.
Shana Brown Receives 2022 Enduring Spirit Award
Congratulations to Shana Brown who received the 2022 Enduring Spirit Award.
Presented by the Native Action Network, award recipients are honored for their lifetime commitment to building strong, healthy Native communities and intergenerational connections.
Brown comes from the Yakama, Muckleshoot, and Puyallup tribes and is a Native Education curriculum specialist for Seattle Public Schools. Brown began her journey in 2005, writing curriculum for the Washington State Historical Society and continued into 2007 as the principal writer for “Since Time Immemorial: Tribal Sovereignty in Washington State.”
For Brown, winning the Enduring Spirit Award is a celebration of womanhood. Her aunt was one of the first recipients in 2006, and her supervisor, Gail Morris, won in 2017. Brown was nominated by her SPS colleague and 2021 honoree Boo Balkan Foster.
“All three of these astounding women were there with me at the awards ceremony,” Brown said. “That’s what Native women do – we lift each other up. I am honored and proud to be in the company of such strong, tenacious Native women and a part of the Native Action Network sisterhood.”
Native Action Network is a nonprofit organized to promote Native women’s full representation, participation, and leadership in local, state, tribal, and national affairs.
Learn more about the Native Action Network’s Enduring Spirit Award
Happy Birthday, Garfield High School
After a two-year wait due to COVID-19 restrictions, students, staff, and alumni from Garfield High School gathered on Aug. 27 to celebrate the school’s 100th anniversary.
Founded as East High School in 1920, the school was renamed James A. Garfield High School when it opened in 1923. Nestled in the heart of the Central District, as the community grew, so did the school. Generations of musicians, athletes, and activists have graced the hallways.
The event included musical performances, historical displays, presentations, and food trucks. Seattle Mayor Bruce Harrell, class of 1976, served as host to the ceremonies. One of the school’s most famous attendees, Quincy Jones, wan Honorary Chair of the event.
National Merit Scholarship Semifinalists Announced
The officials of National Merit Scholarship Corporation announced the names of over 16,000 semifinalists in the 68th annual National Merit Scholarship Program. These academically talented high school seniors have an opportunity to continue in the competition for some 7,250 National Merit Scholarships worth nearly $28 million that will be offered next spring.
The 2023 National Merit Scholarship winners will be announced beginning next spring. The semifinalists are:
BALLARD: Orlando Luce and Jane McKelvey
GARFIELD: Graham Cobden
INGRAHAM: Taran Kaylor and Forrest Lombard
LINCOLN: George Groebner, Noah Huck, Jian Kang, Zoe Kanter, Phoebe Keran, Merce Lutzker, Lindsay MacGregor, Drew Migita, Chanssen Pineda
ROOSEVELT: Ethan Scott, Ellen White
Owner of SPS Pharmacy Partner Receives National Award
Congratulations are in order for true vaccine hero! Dr. Ahmed Ali, owner of Othello Station Pharmacy, was awarded the 2022 Immunization Champion Award for Washington state. The award recognizes those who go above and beyond to promote and foster immunizations in their community.
During the 2022-23 school year, Dr. Ali partnered with SPS and the Department of Health to provide COVID-19 and flu vaccination clinics at Othello Station Pharmacy. Dr. Ali and his staff were also crucial in supporting patient education and helped to combat misinformation and build trust with the community. Thank you for all your hard work, Dr. Ali!
June Shout Outs
Talent on Full Display
Eagle Staff Marching Band Release First Single
The marching band of Robert Eagle Staff Middle School released its first single, “SOAR,” on June 3. The song is influenced by the school’s motto (Scholars who show Ownership, Academic focus, and Respect and Responsibility).
Billboard-charting hip-hop artist Marlon Wood aka Bruce Wayne/Dark Knight collaborated with the 130-member Marching Ravens, which is under the baton of Director of Bands Mr. John Aguilar. They recorded the track this spring to create an anthem centered around the themes of hope, motivation, pride, and perseverance, particularly after the many hardships the world had endured the past two years. The song also features the talents of New York-based singer Alexandra Fresquez, and Philip Durant, a.k.a. Philly Alto.
On June 5, the band performed the halftime show for the WNBA’s Seattle Storm and gave a live debut performance of “SOAR.” The single is available on all music streaming platforms including Spotify, Apple
Music, Pandora, Amazon music, and more. Listen on: Spotify, YouTube, Apple Music
Climate at the Forefront of Global Issues Conference
Students at Ingraham High School organized the 6th Annual Washington State Global Issues (WAGIN) Conference, which took place on June 4. Over 100 middle and high school students from four countries, including Brazil, Peru, and Costa Rica, registered for the event.
The opening keynote speaker was Dr. Ngonidzashe Chirinda, an expert on climate-smart agriculture and currently based in Morocco. Eyal Weintraub, a 21-year-old climate activist from Buenos Aires, Argentina, spoke to conference attendees about founding Youth for Climate Argentina, a movement that has mobilized over 100,000 people in his country.
In addition to the keynote speakers, there were eight youth-led workshops. Workshop topics ranged from addressing pollution in the Duwamish River to sustainable shopping to racial equity in public schools. The full list of workshops can be viewed on the conference website.
WAGIN partners with the Global Issues Network, the World Affairs Council, and the Foundation for International Understanding Through Students (FIUTS). This is the second year in a row the conference has taken place virtually. The first WAGIN Conference was hosted by Chief Sealth International High School in 2015.
Eckstein Releases Documentary on Remote Learning
Julia Detering, an assistant secretary at Eckstein Middle School, released a full-length documentary entitled “Can You Hear Me Now,” focusing on the remote learning experience at the school.
This yearlong project was done in collaboration with Eckstein’s eighth grade students and with the help of the school community. All recordings took place during remote learning from March 11, 2020, until the end of the 2020-21 school year.
The result is an in-depth look at how remote learning worked at one of the largest middle schools in the Seattle area.
Here is a synopsis of the film:
On March 11, 2020, Seattle Public Schools’ students went home from school and did not return to full-time, in-person instruction until September 2021. This is the story of how one middle school harnessed the determination, ingenuity and strength of its community to provide quality instruction during one of the most challenging times of their lives.
June Shout Outs
Take a Bow
SPS is celebrating students whose accomplishments go beyond the classroom. Check out these award winners from around the district.
BRIDGES students awarded for their volunteer work at local food banks
Students from the BRIDGES program at Ingraham High School recently received the North Helpline’s Souper Star Award for their outstanding volunteer work at the Bitter Lake and Lake City food bank locations.
“The team from BRIDGES has gone above and beyond,” said Lara Monroe, North Helpline’s program manager. “They are here every week reliably and consistently. They perform their work quickly, diligently, and with fantastic accuracy. I don’t know how we would have been able to accomplish this all without them.”
BRIDGES, a program for students ages 18-21 who received special education services throughout high school, teaches crucial work and life skills to help students lead independent lives after high school.
Ingraham’s BRIDGES program began its partnership with North Helpline in some capacity in 2018. The volunteer work has helped students to learn important skills, gain confidence, and build relationships with people outside of their class.
BRIDGES teacher Heidi Leyton’s sees how beneficial the program is for her students.
“[The students] really like helping people,” Leyton said. “They really like the interaction with other volunteers and the clients who we work with.”
BRIDGES students and their teachers are excited to continue this partnership for years to come.
Hazel Wolf K-8 Student Selected for AAA School Safety Patrol Hall of Fame
In recognition of her dedication to traffic safety, community stewardship and leadership, Josie Ellis, an eighth grader at Hazel Wolf K-8, was recently chosen for induction into the 2022 AAA School Safety Patrol Hall of Fame.
During her fourth year on the AAA School Safety Patrol at Hazel Wolf K-8, Ellis asked if she could mentor the fifth-grade students eligible to join the program for the first time. According to patrol advisor, Martha Levenson, Ellis’s outreach created the highest number of fifth grade patrol applications ever.
“Josie spoke about the benefits of doing patrol: serving community, making a larger contribution, connecting with kids you would not meet otherwise, developing teamwork, learning leadership skills and finding a voice in the community,” Levenson said. “She spoke wisely about her own development and what she has gotten from patrol.”
As soon as the fifth-grade students joined patrol, Levenson said Ellis made herself 100 percent available to all of them — explaining how to wear the uniforms, demonstrating how to hold/use the flags, and answering questions by email.
“It is this kind of confidence, poise, support and generosity that makes Josie such a unique leader and mentor in her work with the safety patrol,” Levenson said. “Her contribution has been extraordinary in a year when things were a little shaky at the start.”
Seattle High Schoolers Awarded Scholarships from Museum of Flight
Two seniors from Seattle Public Schools were recently awarded scholarships from The Museum of Flight for post-secondary education and flight training. The scholarships are awarded each year to students who have participated in The Museum of Flight’s education programs.
Senior Luke Folsom from Franklin High School is currently enrolled in the Museum of Flight’s Aeronautical Science Pathway (ASP) program. He received the 2022 Benjamin L. Ellison Future Pilot Scholarship, which is worth up to $12,000 toward earning a private pilot license. His career goal is to be a professional pilot for a major U.S. airline.
“To me, to feel certain about something means I am able to see a clear path forward. I recognize both the risks and rewards, and when making a decision, I then move forward in confidence. ASP has given me the most clarity and certainty I have ever experienced in my life.”
Astrid Johnson, a senior at Ingraham High School, was awarded $2,500 toward post-secondary education. She has previously participated in the Museum’s Washington Aerospace Scholars (WAS) program and the Museum’s Aerospace Camp Experience. Astrid has received an early decision acceptance to Smith College where she will study physics and hold a research position. Her career goal is to become a rocket scientist.
“As I go off to college … I will take what I learned at The Museum of Flight and WAS and build on it to expand my knowledge and experience.”
May Shout Outs
Honors All Around
Students and staff across the district are receiving prestigious honors. From Emmy nominations to national awards, check out their accomplishments.
Chief Sealth’s Coach P. is District 2 Athletic Director of the Year
Chief Sealth International High School Athletic Director Ernest “Coach P.” Policarpio knows what it takes to lead a successful team. He’s spent the last 16 years at Sealth — seven of those years as athletic director — building a flourishing athletics program.
Policarpio was recently awarded the 2022 District 2 Athletic Director of the Year for his hard work and passion for athletics.
“He is dedicated to his community, the Sealth campus, and West Seattle,” said Chief Sealth Principal Ray Garcia Morales.
Not only is Policarpio the Athletic Director, he’s also a teacher, head baseball coach, Metro League tournament director, 3A region wrestling tournament director, and a board member of the Sea-King eligibility committee. Even though he has a full schedule, it doesn’t seem to slow him down or get in the way, according to Garcia-Morales.
“He makes himself available, and he’s understanding and patient,” he said. “I think those are a lot of attributes of a great leader.”
Runions Named CCR School Counselor of the Year
The SPS College and Career Readiness (CCR) Department selected McDonald Elementary’s Katie Runions as the School Counselor of the Year. This program honors the best of the best in Seattle Schools – counselors who are providing excellent service in their comprehensive school counseling programming. Nominations for Counselor of the Year are submitted by the community and voted on by other district counselors.
“I feel proud that I am just one of many outstanding school counselors in our district working hard to help our students develop the tools they need to thrive in school and life,” Runions said.
In her 18th year as a counselor and her third at McDonald, Runions’s devotion to her job runs deep. She used the year spent in remote learning to strengthen her relationship with families.
“I love that every day my work is different and that every child’s story is different,” Runions said. “This has become one of my favorite aspects of the work I do.”
Roosevelt DECA students win at Nationals
Students in Roosevelt High School’s DECA club traveled to the International Career Development Conference in Atlanta in April. DECA prepares emerging leaders and entrepreneurs in marketing, finance, hospitality and management in high schools and colleges around the world.
The team had a First in the World finish in the virtual business challenge for personal finance. Additionally, the team finished 8th in the Stock Market Game. Senior Isobel Goepferd, chapter president, won a medal for her outstanding test score in the Business Law and Ethics team decision making event. Roosevelt’s team of 23 students is led by Business teacher Michelle Carter and Marketing teacher Drew Tocco who also serves as the team’s head advisor.
Ballard, Garfield score Student Emmy nominations
Ballard and Garfield high schools earned an impressive nine combined Student Emmy nominations from the Northwest Region of the National Academy of Television Arts and Sciences. The Emmy competition spans productions entered in the 2021–2022-time span.
Ballard’s Digital Filmmaking program earned five nominations while Garfield’s Video Production team grabbed four. Ballard High School is no stranger to the Emmys, as its program has garnered dozens of nominations and awards throughout the course of its program which spans several decades. In its third year, Garfield has had two years of success in the competition. Ballard’s program is led by Steven Bradford. Garfield’s is taught by Jacques Pugh.
Ballard teacher receives national recognition
The Garden Club of America has selected Ballard High School teacher India Carlson for the prestigious Hull Award, given to outstanding educators who further the early environmental education of children. Carlson has worked as a botany and environmental horticulture teacher for 15 years. Currently, Carlson is working on the high school garden to have more edible plantings as well as completing a pollinator pathway garden.
April Shout Outs
We Love Seattle Schools Librarians!
In honor of School Library Month, students, parents and colleagues offered words of gratitude to Seattle Public Schools’s librarians. We received nearly 200 messages sharing accolades and appreciation for librarians around the district. Read some of the praise heaped upon SPS librarians:
Chris Oswald (Adams Elementary): “He is a lively and fun storyteller.” – Angela Wilson, colleague
Jessica Lindow (Arbor Heights Elementary): “She’s really nice, and she inspired me to be a librarian when I grow up!” – Mallie Converse, student
TuesD Chambers (Ballard High School): “Not only does the BHS library program encourage the love of reading but is an inclusive space that focuses on the social and emotional health of our students. Also, I’m a school librarian for a neighboring district, and Ms. Chambers inspires me professionally every day. Big fan!” – Amanda Workman, parent
Jillian Kartchner (Broadview-Thomson K-8): “I love that Jillian aligns her curriculum with what I’m teaching in the classroom. She recently had students bring their laptops to the library, and she taught them how to find a myriad of resources for their country reports. In addition, Jillian is teaching students about safety on the internet and protecting their personal information and why that’s important.” – Tia Rizk, colleague
Anne Aliverti (Bryant Elementary): “Ms. Aliverti does more than checking out books for us; she sets up so many fun activities like Shelf Elves and Global Reading! She also gets us interested in books and has us do fun activities. She made me like reading a lot more, and she’s sure to do the same for others!” – Katherine Spence, student
Merrick Bodmer (Cascadia Elementary): “Ms. Bodmer inspires me to try out different genres of books, even if I do not think that I will like it. I love how she knows what I like and makes great book recommendations and is always ready to help.” – Kiskoli Dey, student
Luke Azinger (Chief Sealth International High School): “Luke has packed our library full of titles that kids want to read! His displays are thematic and inviting and enticing, and I have never seen so many students happily perusing and then checking out book(s). Kids are consistently giving me book recommendations, which is amazing, and it’s all because Luke has inspired and re-invigorated a culture of reading at our school!” – Amber Allison, colleague
LeAnn Miller (Decatur Elementary): “I like the schedule where I see Ms. Miller, the librarian, every Tuesday because then you can have something to look forward to every week. I simply like books. I am a bookworm and Ms. Miller helps me find books every time I need help to find books.” – Natan Silberstein, student
Tyson Manzin (Garfield High School): “Mr. Manzin makes the library a welcoming place for all students.” – Louise Bendall, parent
Morgan MacDonald (Hamilton International Middle School): “I find inspiration in her passion for students and staff finding content that engages, elevates, and/or broadens discussions and learning. In returning from COVID, Morgan has been a consistent presence for students to find a book/adventure to escape, a positive place to express, or a quiet place to reflect. I have really appreciated the identification of content that mirrors our themes on the Diversity Calendar we utilize in Advisory. Students are getting to see more representative models and cultural connections.” – Fred Butts, colleague
Betty Brennan (Ingraham High School): “She is such a kind and caring person who always has the best interests of the students at heart. She is always helping students with their essays and giving all the best book suggestions. She inspires me to be kind and to give those who need it and to always be your best self.” – Naomi Armstrong, student
Emily Christiansen (Jane Addams Middle School): “Emily is steeped in [Young Adult literature]. She knows something about all the books kids bring up to her. Her knowledgeable passion is an inspiration for a wide range of readers across all genres.” – Matthew Kirshman, colleague
Janet Schooler (John Hay Elementary): “She reads books, and she’s nice, and she lets us open a box!” – Shaan Hasham, student
Andrea Young (John Stanford Center for Educational Excellence): “I wanted to take a moment to write about a librarian for SPS who does all the work behind the scenes. Andrea Young is our district cataloger. Anyone who has ever looked up a book from the catalog can thank Andrea for her contributions. She makes sure new titles are entered, corrects errors, offers advice to librarians in the schools and can often be found printing barcodes for teacher-librarians late into the evenings. She’s kind and smart and has a mind like a steel trap when it comes to details that some of miss. SPS Librarians owe a lot to Andrea. Her behind-the-scenes support is priceless.” – Darcy Brixey, colleague
Audra Gallegos (Lawton Elementary): “Audra is passionate about having books and other resources in the library that inspires students and staff alike – books that enlighten us by teaching perspectives or history we hadn’t been aware of in the past. Since Audra joined our staff, the collection has been made exciting, and student reading minutes have increased dramatically. Her collection is relevant and time sensitive. In addition, her library lessons are engaging and impactful. She also loves to collaborate with teachers on projects and encourages us to branch out from our comfort zone. We are truly lucky to have her at Lawton!” – Emmy Misner, colleague
Henry “Hank” Morgan (Lichton Springs K-8): “Since the first week of school Library has been my kindergartener’s favorite class. I have heard the same from classmates’ parents. I’m not sure what magic Hank works to make library a bigger draw than P.E. or recess. I do know my kid comes home each week with a mix of books. Some he can read or enjoys having read to him. Some are above his reading level, but he was allowed to try them and learn about selecting books he enjoys. Hank does a great job of keeping the kids engaged with reading. This is, in my opinion, a vital element of creating a community of readers and learners.” – Maura Madden, parent
Mary Bannister (Louisa Boren STEM K-8): “Ms. Bannister is like the energizer bunny – she is always on the go. She takes time to pull out special interest books and highlights them. The kids love it when Ms. Bannister reads to them during their library time. She is always thinking of the staff on special occasions and never misses an encouraging card with a treat tucked inside! She is not afraid of dressing for the occasion (i.e., St. Patrick’s Day, Pajama Day – any day!) When we were hybrid, and had an outdoor library, she would take great care to set out enough books for each grade and interests. Ms. Bannister, I believe, goes above and beyond for our school and students. She’s an inspiration to be a better human.” – Jody Hapgood, colleague
Kirk Van Irvin (Lowell Elementary): “Kirk is new to Lowell, and we all so appreciate the way he immediately opened the library, has expanded the collection, has invited student leadership and voice in set-up, and created opportunities for students to grow in community as readers.” – Chelsea Dziedzic, colleague
Stacia Bell (Madison Middle School): “Stacia champions the joy of reading every single day, connecting students to books they would otherwise never find and love. She has done an AMAZING job of purchasing and promoting books that mirror the beautiful diversity in our world. She brings popular authors to our campus–live and virtually, giving students a unique opportunity to interact with published writers. And Stacia’s influence at our school extends far beyond the library walls. She is a thoughtful, committed educational technologist, a Career Ladder Teacher, and an organizer of student teachers.” – Susan Ovens, colleague
Abby Levin (Magnolia Elementary): “Ms. Abby always supports us in reading and beyond. She is an amazing person and is passionate about so many things. If I ever need a book or just some love, Ms. Abby can find me both! I am so happy she works at my school, and I have had the wonderful gift of learning from her!” – Jordan Daligcon, student
Danae Powers (McGilvra Elementary): “Our librarian was INCREDIBLE during the pandemic. She really was the glue that held our school community together with all her wonderful spirit day video montages and other all-school activities which people submitted photos from home. She created the most amazing video lessons for remote learning. And back in person, she comes up with very thoughtful lesson plans – the kids are learning so much from her every week. This woman is a superstar!” – Sarah Cook, parent
Dana West (Nathan Hale High School): “Ms. West is just so cool. She’s super friendly with students, she’s with the times, and she can relate to all the students, whether it’s about books, classes, or extracurricular. I definitely want to be like her someday.” – Max Lommers, student
Tracy Appleyard (Orca K-8): “Tracy is an incredible librarian and human. She cares deeply for her students and is passionate about making books accessible for all students. During remote learning last year, Ms. Appleyard kept up an online reservation system and held library hours outside the main entrance to Orca every other Tuesday afternoon. Seeing the smiles behind masks as students exchanged books and got to see Ms. Appleyard in person was the kind of necessary joy during a difficult time. This year, Ms. Appleyard has worked hard to bring new and interesting books to Orca’s library, with a focus on the representation of all types of students from diverse backgrounds. We love Ms. Appleyard!” – Heather Zucker, parent
Ami Pendley Noble (Pathfinder K-8): “Ami is the best librarian ever! She is supportive, fun, and leaves lots of room for us to be ourselves. She reads us books that we have never heard of, but that everyone should know. She has the best books, and her book recommendations are amazing too. I have read many books that she suggested, and I haven’t found one that I didn’t like! The library isn’t just for reading either. We have many activities that we can do besides looking at books or reading. We have lessons about all different subjects, and we learn a lot. Not only from books but other types of media too. Every time we leave the library we leave with new knowledge and confidence. She makes our school a better place and is definitely the most loving staff member in our school. Ami is fabulous!” – Jo Russo, student
Rebecca Wynkoop (Robert Eagle Staff Middle School): “I love how she’s fun and really nice. She takes into consideration what kids want and is willing to buy books to add to the library if it’s requested. She makes fun activities to do outside of reading and makes the library a fun and safe space for everyone.” – Ava Montejano, student
Chris Robert (Roxhill & Highland Park elementaries): “He is so dynamic and a fan favorite at school. The monthly library songs are sung at our house all year round.” – Erin Conery, parent
Sarah Johnson (Seattle World School): “Sarah does an amazing job of connecting with the students at Seattle World School. It can be challenging at times since … English is not their primary language. Sarah strives to use different media to answer students’ questions and assist in many ways beyond recommending books such as trouble-shooting computer problems, making sure they have a hotspot, and connecting to needed resources inside and outside the school. Sarah always does this balancing act of juggling many tasks with a smile on her face. Not only does she help the students with their needs, she provides assistance to her colleagues and staff. She is a leader in our school.” – Ana Short, colleague
Amy Young (View Ridge Elementary): “Our librarian is simply the best. She’s greeted like a celebrity at dismissal by all the kids because they adore her. She fosters a love of books and kept my child excited about reading throughout remote learning. As a volunteer, I also get to hear some of the lessons she provides during library time, and I am amazed at the learning that goes on. She weaves elements of history, science, and language arts into her lessons while teaching the kids how to analyze books for literary elements, contextual clues and more, all while they are having fun. Ms. Young is a fabulous librarian!” – Jennifer Beaverson, parent
Maggie Block (Washington Middle School): “They taught me the power of words and the power of creating a safe space. They taught me the power of my words and that what I say can impact others. They inspire me to use my words to help others.” – Nor Luloff, student
Kristi Leland (Wedgwood Elementary): “Ms. Leland goes above and beyond her role as librarian, not only guiding students towards books they might love but also taking the time to genuinely check in with each student. My son would live in the library if he could!” – Sara Gutmann, parent
Paula Wittmann (West Woodland Elementary): “Ms. Wittmann is a wonderful advocate for libraries, books and reading. She is very friendly and approachable and always has great book suggestions. She is very thoughtful in planning lessons and highlighting books for different grade levels and tailoring her teaching and discussion to the level of the kids she is working with. She has curated a wonderful collection at West Woodland and made the library there a safe and enjoyable space for all the students and teachers. We are lucky to have her!” – Rachel Rigdon-Bel, parent
Rachel Kresl (American Indian Resource Library) “I really love our new books … there are some really amazing books coming out,” Meany Middle School students. Read about the American Indian Resource Library.
May 2-6 is Teacher Appreciation Week. Do you know a teacher who deserves a shoutout? Let us know at Microsoft Forms
February Shout Outs
SPS Shout Outs for School Counselors: We Are Better Together!
We asked, you answered.
Accolades for school counselors poured in as we recognized National School Counseling Week (February 7-11). This year’s theme, “Better Together,” focused on how counselors work with administrators, teachers, and other school-based mental health professionals for the good of all students. The week also highlights the impact school counselors can have in helping students achieve school success and plan for a career.
Several nominations cited their school counselor’s ability to engage with students in a way that supports not only college and career readiness, but also social/emotional development. Others shared personal experiences of how their school counselors help students examine their strengths, interests and talents.
“School counseling programs help to increase student achievement and provide a much-needed resource for students, parents, teachers and administrators,” said Jill Cook, executive director of the American School Counselor Association, the sponsors of National School Counseling Week. “Counselors are integral to student success.”
Seattle Public Schools thanks all our counselors for their commitment to our students. Here’s what students, families and colleagues had to say about their school counselors:
Melissa Matsui “is such an important part of our school community. She helps create and maintain our school culture through her comprehensive guidance program. She is teaching our students skills that will bring them a greater quality of life even into their adulthood. I cannot imagine how our students and staff could have been so well supported emotionally throughout the pandemic without the empathy and guidance of Ms. Matsui.”
Principal Katie May, Thurgood Marshall
“I am writing to nominate John Taylor, school counselor at Benjamin Franklin Day Elementary, for his excellent work in our school community. I would also like to nominate Dan Turner, who was an SPS school counselor for decades and substituted for Mr. Taylor during his paternity leave earlier this year.”
Allison D. Brooks
“I would like to submit a nomination on behalf of each of the phenomenal school counselors that I am fortunate to work with at Franklin High School: Natalie Weinstein, Lexi Awdziejczyk, Tony Foland, Darrell Lee, and Corey Goldstein. These five dedicated professionals continually strive to meet the needs of all members of the Franklin community, both as individuals and collectively.”
School Psychologist Ashley Burchett, Franklin High School
“The team at Ingraham – Angie Allemand, Jensen Bonney, Jennifer Connolly, Kathryn Feder, and Leanne Hust – are a creative, collaborative and caring group of individuals who work tirelessly to meet student needs. This team fosters a true team approach in their work with students, parents, and staff. We are so lucky to have such a competent and dedicated group of counselors and counseling support staff here at Ingraham.”
Tristie McJilton, Inclusion Education Services, Ingraham High School
“Katie Runions’s [McDonald International Elementary] small group sessions are talked about for days after with enthusiasm and understanding. As a parent, we are thrilled with the connection and comfort our child feels with Katie, and we also benefit with tips, tricks and resources that are sent weekly. She has been tremendously helpful for our family to have open conversations and learning moments as we all get better together.”
Beth Koemans, parent
“Jenny Brooks from Salmon Bay went above and beyond the past year visiting families in their yards to provide support and guidance.”
Danae Nakoneczny, parent
“Tammy Foulk [Cascadia Elementary] has been an amazing support for our neurodiverse population to survive and thrive in the social and emotional space. She has a keen eye for justice, a kind heart for the hurt, and a witty approach for solutions to all disputes. We love her. She will always be in our hearts for all the teaching she has allowed for us parents and our kids.”
Ayca Dabis, parent
Other counselors receiving recognition:
Said Ahmed [Bailey Gatzert Elementary] – “He is also a leader for other aspiring school counselors, frequently taking on interns to guide them in their own process of growing into this role.”
Gail Olson Laing [Ballard High School] – “I did not anticipate a quick response as I know the counselors support so many kids. It was clear that she had familiarized herself with our child’s transcript and knew the school, teachers and classes well.”
Julie Seltzer [Washington Middle School] – “She has been extremely helpful as my daughter has navigated some tough times. It is just such a relief for her to have such a kind and understanding resource.”
Cheryl Fraley [Whitman Middle School] – “Even with the staff shortages and all that has been happening in the last 2 years, Cheryl has been very competent, patient and thorough!”
Do you know a student or staff member who deserves a shoutout? Email publicaffairs@seattleschools.org
January Shout Outs
SPS Shout Outs: Students Put Artistic Skills on Display
Seattle Public Schools is highlighting students who are doing amazing artwork around the district.
Cleveland senior Nouryani Saleh and Mark Kozumka, 3rd grader at Rising Star Elementary, both spend hours on their craft. From cats to calligraphy, these talented students let their artwork tell their stories.
Mark, 3rd Grade, Rising Star
When Mark’s art teacher, Elaine Dondoyano, says he loves cats, she means he really loves cats.
He loves to read about them, study them, and draw them. Dondoyano has a binder full of his colorful cat drawings. As Mark flips through the pages, he lists them off one by one.
“This is a cougar. This is a wolf. This is a cat. This is a kitten,” he said. “But I like drawing all animals.”
Mark’s artwork is featured on the call for submissions page for the Museum of Museums’ website, which is promoting its “Cats vs. Dogs” exhibition opening in February.
His work will also be included in the show located in their Emergence Room, a space for rotating, monthly showcases of visual art that celebrates young artists from around the Pacific Northwest.
Nouryani Saleh, 12th Grade, Cleveland
As the youngest of three kids, Nouryani tends to copy her older siblings. She started drawing at a young age after seeing her older sister constantly creating art.
After spending years creating digital faces of celebrities, Nouryani is challenging herself by drawing landscapes and architecture. She mainly paints sunsets and skylines based on places she envisions, but she still makes digital art when people commission her work.
“Over the summer, a lot of people wanted me to do calligraphy signs, so I would use digital art to plan everything out and then do it by hand.”
What some might call doodling, Nouryani’s customized calendar sketches are where she really shines. She takes ordinary day planners and adds themed drawings to each month, a process that takes dozens of hours to finish. Early on during the pandemic, Nouryani had more time to draw, but as she enters the last semester of her high school career, she’s had to sacrifice her art time for college applications and homework.
“It’s kind of sad to not have time anymore,” she said. “I try to finish as much work as I can for ASB and all my classes. I try to stay on top of things so my weekends can be free [to draw].”
Nouryani’s talent has served her school well. After doing an online internship in marketing, she now uses her skills to create advertisements for Cleveland’s Associated Student Body (ASB) and the senior class. She also helps run their Instagram account.
Nouryani has her eyes set on attending Stanford, University of Southern California, or Seattle University. She plans to major in marketing.
Do you know a student who deserves a shoutout? Email publicaffairs@seattleschools.org.
December Shout Outs
Thank You Seattle Public Schools Educators and Staff!
Seattle Public Schools continues to highlight members of the SPS community who are making noteworthy contributions to the district. These individuals go above and beyond in service at our schools and are consistently working to ensure students receive high-quality instruction and learning experiences.
Appreciative colleagues who have noticed these individuals’ commitment to SPS sent in their shout outs to share with the entire school community.
Send us a Shout-Out! Do you know a student or staff member who deserves a shout-out? Email publicaffairs@seattleschools.org
Joan Steinberg, Bailey Gatzert Elementary
Joan Steinberg is the first to arrive and one of the last staff members to leave. As the school assistant and attendance secretary at Bailey Gatzert Elementary, Steinberg is a jack of all trades who usually masters them all. According to her colleague, Administrative Secretary Carrie Bolden, Steinberg is punctual, dedicated, and up for any challenge.
“Ms. Joan is never late and has not had a sub yet,” Bolden said. “During lunch, you can hear her giving directions to the students, reminding them of the rules of the lunchroom and playground activities.”
“She honestly loves our children … [and] is a joy to have at our school,” Bolden said.
Bolden said Steinberg brings a wealth of knowledge from her previous job and has implemented some of those processes at Bailey Gatzert Elementary. In addition to her many duties, this year Steinberg added school webmaster to her list and uses the opportunity to grow and collaborate.
“She is very good at what she does and often asks for my opinion or invites my suggestions on changing formats,” Bolden said.
Leticia Bazemore, Martin Luther King Elementary
Antoinette Harrison, a project manager with SPS, has seen firsthand how Special Education Assistant Leticia Bazemore incorporates love, kindness, and energy into her interactions with students. While K-2 students line up outside the door before school begins, Bazemore has the students engage in morning movements that gets them ready for a day of learning. Harrison has affectionately dubbed Bazemore as her daughter’s new in-school auntie.
“She greets students and parents authentically, and when she is not there, her presence is most definitely missed,” Harrison said. “As a parent and an SPS employee, it brings me joy to see her going above and beyond to create a warm and welcoming environment starting at the door.”
Thomas Castle, TOPS K-8
Thomas Castle, a 7th grade social studies and language arts teacher at TOPS K-8. As a certified sign language interpreter, Ryan Page has spent a lot of time observing teachers and their teaching styles. He appreciates Castle’s positivity and overall commitment to his students. From classroom management to student participation, Page said Castle knows how to keep all eyes on the lesson.
“Mr. Castle is the most engaging teacher I have ever interpreted for in my five years of interpreting within classrooms,” Page said. “Students are … truly delighted to be part of his classroom.”
According to Page, Castle exhibits extraordinary classroom management while retaining respect from his students. Castle also goes out of his way to learn the American Sign Language sign for every new topic he introduces.
“It is truly a pleasure interpreting for him,” Page said.
November Shout Outs
Thank You School Custodians!
Seattle Public Schools is shining a spotlight on members of the SPS community who have made significant contributions to the district; people who go above and beyond in service at our schools. We received dozens of emails from staff members offering shout-outs, but none received as much praise as the custodial staff.
Despite having 60 vacant custodial positions that add more strain to their jobs, this team of workers has been performing heroics since the beginning of the COVID-19 pandemic. They have worked tirelessly since the shutdown March 2020, ensuring schools were cleaned, disinfected, and ready for students to return.
When schools re-opened in April 2021, custodians were faced with staffing shortages, which led to worries of not being able to clean the schools adequately. Director of Facility Operations Frank Griffin oversees the custodial staff. He said the team stepped up and worked overtime to ensure that schools were ready for students.
Once school started in Fall 2021, custodial staff faced even more challenges with increased workloads caused by outdoor lunches and the constant disinfecting of common surfaces was a strain on the team. But they were not deterred.
“This team is all about serving the staff and students of SPS,” said Griffin. “They understand the importance of the role and have achieved nothing short of miracles.”
What SPS Staff Have to Say
Read some of the praise heaped upon the custodial staff:
From Director of Facility Operations Frank Griffin
Bounma Thongdymanyvong, Inspector and Liaison Specialist: Headed the COVID-disinfecting response to schools with confirmed COVID cases. He has worked tirelessly to ensure spaces were safe for students
Young Wong, Custodial Engineer, Ballard High School: Trained 100+ new custodians over the course of a year. Ensured they were successful in their roles of supporting the educational process.
Mohamed Abdalla, Custodial Engineer: Faithfully served the staff and students at Viewlands Elementary with a can-do attitude and ownership of his role in relocating the school.
Nicole Selstead, Custodial Engineer and Roger Broz, License Assistant: Worked tirelessly to ensure that West Woodland was ready for staff and students upon reopening, juggling work with contractors, buildings staff, and various other SPS departments.
From staff around the district
“They are simply fantastic and much appreciated,” Jim Stoltzfus, special education teacher, Blaine Middle School.
“Aaron Larson is incredible! [He is] kind, hardworking, personable, funny, thoughtful, and super communicative. Our school is so lucky to have him. Even as demands for his role have gone up over the pandemic, he’s kept an atmosphere of warmth and optimism, and our building is holistically stronger in light of his contributions,” Carrie Snow, resource teacher, Magnolia Elementary.
“Walter Harris worked briefly at Sanislo Elementary but got transferred back to Denny Middle. Walter consistently goes above and beyond to build solid relationships, interact with the kids, and be a generally amazing person. Walter should be recognized for his hard work, amazing attitude, and making life better wherever he works,” Liz Jimmerson-Alaeddinoglu, first grade teacher, Sanislo Elementary School.
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REMU-UT 1 Professional Development: Creativity in Context (0 Credits)
Typically offered Fall
This course will contextualize the holistic core curriculum of the Clive Davis Institute. By linking the Institutes academic disciplines, philosophy and culture to creativity and discovery in practice, a more tangible frame of reference will emerge. The course will offer several colloquium conversations with senior faculty, working artists in music, fine arts, architecture, journalism, fashion, and technology. This exposure will lead students to a better understanding of the relationship between academics and artistic and commercial achievement.
Grading: Ugrd Tisch Pass/Fail
Repeatable for additional credit: No
REMU-UT 2 Creativity in Context, A Deeper Look (2 Credits)
As with Creativity in Context 1 in which the purpose of the course is to contextualize the core curriculum of the The Clive Davis Institute to incoming first year students, this course delves deeper into the exploration of creativity throughout various disciplines and career structures. In opening this course to the NYU community, we will be linking academic disciplines, philosophy, and culture to creativity and discovery in practice. The course will offer seven workshop style lecture/conversations with senior faculty, and working artists or professionals who have traveled an varied journey throughout their careers. This exposure to, and opportunity for a deeper conversation, will lead students to better understand the relationship between academic study & self-development, artistic & commercial achievement, as well as coupling art and industry with politics and current events.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 3 Conversations with Today's Hitmakers: (0 Credits)
This colloquium series offers enrolled students an in-depth study of living stories of inspiration, integration and intuition within their craft. Each week, students meet and hear from some of the biggest artists, executives, entrepreneurs of today as they take a peek behind the metaphorical “curtain” and delve deeper into those life stories and creative journeys. The idea is for students, many of whom are aspiring creative entrepreneurs, to hear directly from, and ask questions directly to, those special guests, in moderated conversation—and to think more deeply about their craft by way of readings and discussion. We will explore how our guests discovered their talent, their grit and their potential and get the scoop on milestone moments that shaped their career and life.
Grading: Ugrd Tisch Pass/Fail
Repeatable for additional credit: Yes
REMU-UT 500 Fundamentals of Music Production (2 Credits)
Typically offered Summer term
A part of our summer high school residency program, this comprehensive production course will cover the various steps and techniques involved in producing a record. Students will gain a practical understanding of the key tools required to transform an idea into a tangible recording. Students will explore the world of sequencing, synthesis, microphones, recording, mixing, and mastering. In doing so, students will be given a complete palette of tools and skills empowering them to produce and record professional sounding music.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 501 The Foundations of the Music Business (2 Credits)
Typically offered Summer term
A part of our summer high school residency program, this course provides a broad overview of the music industry’s structure, main business segments and the underlying forces driving current developments and the opportunities that these changes usher in. Topics include: day-to-day business activities, major revenue streams, key roles (including members of an artist’s team-manager, agent, etc.) responsibilities, deals, and current economic and technological developments. Focus is given to different salaried and freelance music industry career fields and pathways and the competencies, skills training and experiences needed to break in and realize long term professional success. By the end, you will have a greater understanding of how the music industry works and the roles you see yourself playing in it now and in the future.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 502 Arts & Culture of New York (2 Credits)
Typically offered Summer term
As a companion course to both REMU-UT 0500 Fundamentals of Music Production and REMU-UT 0501 Foundations of Music Business in Recorded Music’s Summer High School Program, this course is designed to introduce students to various topics and issues that define the art and culture of the music industry today. By engaging in hands-on activities, field trips around New York City, workshops, seminars, and first-hand conversations with leading industry professionals, students will enrich their understanding and perspectives about the music industry, and how it propels New York City’s cultural life.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1003 Producing The Record: Side A (4 Credits)
Typically offered Fall
This course provides students with the creative skills and theoretical information to work successfully with artists in the recording studio toward the conceptualization and completion of a short EP or full-length LP. By the end of the course, students have the necessary skills to communicate with and produce excellence from musical performers in the recording studio. To that end, this course instructs students in the selection of appropriate musical material, arrangement of the material, the construction of the sound in the studio, and the artistic ensemble of the recorded sound on the completed album. Working first in small groups and then individually, students gain practical experience by recording and mixing sound with professional artists in the studio, under careful supervision. In preparation for the third year, students are asked to consider possible distribution modes for the final product and a range of identifiable publics. This class also arms students with a working knowledge of the recording techniques of specific genres of popular music. We analyze the recorded repertoire of a diverse range of genres?such as rock, pop, R & B, hip-hop, jazz, blues, country, and electronica?as time permits and according to student needs. Students are asked to purchase a number of ?classic? albums in the genre in which they intend to pursue their work, and they deconstruct those albums for aural clues to imagine how they might have been put together in the studio. As time permits, we also visit creative producers in the recording studio to monitor how they work with artists and develop recorded material. Note: There is a lab fee for this class.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1004 Producing The Record: Side B (4 Credits)
Typically offered Spring
The purpose of Producing The Record: Side B is to teach technical proficiency, business self-sufficiency, and creative methodology, in the area of studio music production - better stated as realization. Students are exposed to a variety of complimentary realization methodologies through case studies, traditional lectures, and hands-on exercises. The curricular approach is holistic; with lessons presenting pure music, technical and engineering skills, project management, and historical reference in equal parts. The course is complimented by +/- 40 hours of independent studio time for students (in pairs) to develop their skills as engineers, producers, and discoverers & developers of talent.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1006 Producing the Podcast: Telling Your Story in Sound (4 Credits)
Storytelling and the gift of listening are critical skills that can be developed and a podcast can be more than a monologue or an interview. A podcast can be a rich environment for using sound to tell a story. Sound can be used in many ways, whether it is used to set the scene, illustrate a concept, or enliven a journalistic situation. The course will introduce students to the power of sound to illustrate and enrich a podcast, through listening and production. Weekly listening and assignments will be presented and discussed in class to encourage and inspire.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1009 Beats and Beatmaking (4 Credits)
Typically offered occasionally
This course will develop a working knowledge of the sampling, sequencing, editing, recording and mixing tools used by music producers to create the individual voices and sonic identities within contemporary music production. In particular, we will be looking at Digidesign?s Pro Tools, Propellerhead's Reason, Akai's MPC 4000 and SSL?s K9000 automated mixing console. Over the course of the semester, students will learn how to assemble original compositions using these technologies and apply them through various popular music styles. Students are encouraged to bring in source and reference material. The course culminates in a final project that features the student?s original composition. Note: There is a lab fee for this class. Familiarity with Pro Tools is preferred, but knowledge of Logic or Digital Performer is also acceptable.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1010 Content Development for Performers, Producers, & Songwriters (2 Credits)
Typically offered Fall and Spring
This course provides artistic and technical guidance to students pursuing production based capstone projects and will assist students in creating a cohesive and comprehensive recording and production plan. It is through this course that production capstone seniors receive their studio allotment. Production mentors will advise and monitor your progress, and keep you focused on the task at hand: successful realization of your capstone studio production component.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: Yes
REMU-UT 1011 Advanced Studio Production for Producers, Songwriters & Artists (2 Credits)
Typically offered Fall
The pillars of this advanced production workshop are experimentation and conceptual production for recording. This deeper analysis of our work will transfer to a more engaged stage application that we will discover through investigative practice. Using technology that meets each students’ requirements, the student will create a language and story for their compositions that will develop throughout the semester and eventually follow from the studio to the stage (and vice versa). This is a class where the student will become comfortable with their work, from a variety of angles and magnifications, so that they have more clarity of their capacity as artists, songwriters, and producers. Not only have the lines blurred for producers, but between the role of the artist, songwriter and musician alike. We are in an era where we have the opportunity to become self-sufficient in our practice, and take charge of our sound from a deeper perspective. The relationship we have to the production, as well as the technical and aesthetic control of that production, will help us to maintain a better communication with our practice.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: Yes
REMU-UT 1013 Surround & Immersive Sound Recording: A Mixed Reality (2 Credits)
Typically offered Fall of even numbered years
This class builds upon the techniques of the recording studio and the techniques of producing recorded music begun in Engineering the Record I, IIand Producing the Record Side A and B and will explore advanced techniques used in surround and immersive sound recording and mixing. Today, surround and immersive audio can be found in all areas of popular entertainment: music, film, television, streaming, games, etc. By using the multichannel studio facilities of the Clive Davis Institute of Recorded Music, students will further learn to record and mix in surround and immersive audio formats. Assigned work will take place in Studio 1 and Studio 4.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1016 The Virtual Producer: Beats & Beatmaking (2 Credits)
Typically offered Summer term
This course will cover various professional Music Production Techniques & Strategies such as: Sampling (& Sample Chopping), Drum Programming / Drum Design, Synthesis & Sound Design, Music Theory (in the context of Music Production), MIDI Editing, as well as numerous Mixing Techniques. Over the course of the class, through the utilization and knowledge of these various skills, students will learn how to create Original Music Compositions & Productions. The primary DAW platform for the course is Ableton. While a Beatmaker / Composer / Producer must be well versed in the application of various software and hardware tools, as well as the many Production skills & techniques, they must also have artistic vision and creative efficacy. So while the course is about Music / Beat Construction and the tools involved, there will also be a strong emphasis on innovative envision, inventive mobility, and how to think / strategize like a Music Producer.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1017 The Virtual Producer: Live Performance with Laptops & Software (2 Credits)
We are currently in the midst of a generational shift in the fundamental instrumentation of the live performance of many styles of music. As in the 1950’s when live groups shifted from woodwind and brass lead instruments to the electric guitar, today live groups are increasingly moving away from electric guitars and other traditional rock/pop instruments toward digital instruments. Today’s performer in many styles of music will often find themselves either performing with or alongside a laptop/computer, usually running Ableton Live. The “laptop” person in a band has become an integral part of live groups and having the skills to fill this increasingly important role will make our graduates more in demand in live performance roles, particularly if they are also accomplished instrumentalists and/or vocalists. People who know and understand techniques for synching computers with live performers and visuals are also in demand as designers and engineers for large scale concert tours and spectacles like Cirque du Soleil. Having visited the set of Broadway musicals, it is clear that programming and running laptops to coordinate music, visuals and lights is becoming integral to musical theater performances as well. This course will teach some of the techniques required to utilize laptops in live performance, integrate the technology into bands with live instruments and vocalists, as well as multi media applications (i.e sync to visuals, lighting, etc.). It will focus on using the Ableton Live software which has become the industry standard for live performance tasks. This course will culminate in a live performance at the end of the semester in which students will be required to do a performance incorporating live instruments and vocalists, laptops, MIDI controllers and visuals.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1020 Digital Audio Workstations: ProTools (2 Credits)
Typically offered Fall, Summer, and January terms
During this course, students will acquire an in-depth, theoretical and practical knowledge of Digital Audio Workstations using the industry standard Pro Tools software through a weekly, lab-based workshop. Each class will be a combination of lecture and immediate application. An emphasis will be placed on getting to know Pro Tools, getting inside Pro Tools, creating sessions, working with media in sessions, audio recording, audio editing, file management techniques, MIDI recording, editing techniques, mixing techniques, backups and stereo mix-down.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1021 Digital Audio Workstations: Logic (2 Credits)
Typically offered Spring and Summer
During this course, students will acquire an in-depth, theoretical and practical knowledge of Digital Audio Workstations using the industry standard Logic Pro software through a weekly, lab-based workshop. Each class will be a combination of lecture and immediate application. An emphasis will be placed on getting to know Logic Pro, getting inside Logic Pro, creating sessions, working with media in sessions, audio recording, audio editing, file management techniques, MIDI recording, editing techniques, mixing techniques, backups and stereo mix-down.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1022 Digital Audio Workstations: Ableton Live (2 Credits)
Typically offered Fall and Summer terms
We live in an age of digital production where so much of today's music is produced with comparatively few tools, and at the heart of the modern production set up, whether in the bedroom of the studio, is software that uses MIDI. One of the most versatile of today’s platforms which can be used in production, live performance, and even as a visual tool is Ableton Live. Ableton is unique amongst the contemporary software programs making music in that it is the only one that was created by working musicians who were looking for a tool that allowed for both the seamless creation of ideas and could also serve as a performance instrument. In the past 15 years, Ableton has played an important role in creating countless tracks and records in numerous genres and the go-to software for live performance, whether for vocalists and bands or for massive spectacles like Cirque du Soleil. In this course, we will cover Ableton's unique abilities to manipulate audio which make it the preferred platform for remixing and mash-ups. We will cover the fundamentals of the software, explore techniques to program beats, chordal and melodic ideas, as well as cover creative workflow - how to use Ableton to quickly generate ideas for producers and songwriters. Finally, we will discuss its use as a live performance tool for use with live instrumentalists and vocalists, as a DJ tool and even as a VJing tool.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1037 Professional Development: Internship (1-4 Credits)
Typically offered Fall, Spring, and Summer terms
All Recorded Music majors are required to complete at least one internship for a minimum of 2 credits in order to graduate. Please review the Recorded Music Internship website for registration information.
Grading: Ugrd Tisch Pass/Fail
Repeatable for additional credit: Yes
REMU-UT 1040 Engineering The Record I (2 Credits)
Typically offered Fall, Summer, and January terms
In recent years, access to affordable audio recording equipment and software has given rise to a new breed of recording engineer and producer. Intuitive software design, plus short-cut “how to” videos and websites can make for rewarding early experiences for the DIY engineer, but those resources may only tell part of the story. A producer or engineer’s versatility and efficiency are often limited without a deeper understanding of the processes. This course aims to help students understand fundamental principles that form the basis of tried and true recording techniques, allowing them to make informed decisions in each stage of the recording process and, ultimately, make better recordings. Through a series of discussions, hands-on exercises, recording sessions, and projects, students will learn about the propagation of sound, microphone design and implementation, signal flow, basic signal processing, and fundamental recording and mixing techniques. Emphasis is placed on critical listening, preparation, class participation, professionalism, and teamwork.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1041 Engineering The Record II (2 Credits)
Typically offered Spring and Summer
Engineering The Record II builds upon the fundamentals of sound recording established in ETR I. Through a series of discussions, hands-on exercises, and recording sessions, students will refine their skills in the recording studio from the organizational, technical, and creative/artistic points of view. Integrating skills from Critical Listening for The Recording Studio and Writing the Hit Song, student teams will reverse-engineer a well-known recording and reproduce it as a “sound-alike.” Emphasis will be placed on critical listening, preparation, class participation, and teamwork.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1052 Mix Intensive (2 Credits)
Typically offered Spring
As with literally every facet of music production, mixing audio had been hugely impacted by the paradigm shift created by digital technologies. That said, the architecture and function of virtually all digital software and hardware is based on the models developed through analog hardware and processing. The objective of this seven-week intensive course is - using the best and most appropriate of both the digital and analog tools - to refine our mixing skills and expand our repertory of techniques. This will include both digital in-the-box processing and analog processing ? console (via SSL and API) and outboard equipment, and combinations of the two.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: Yes
REMU-UT 1061 Mastering the Record (4 Credits)
Typically offered Fall
Mastering is the last creative step of production and the first technical step of manufacturing, broadcast, or distribution. Artists, producers, and record labels demand proper mastering to insure that their product holds its own in the marketplace and insist that none but the most qualified ears master their music. Now, with the rise of music downloads, Internet radio, high-resolution discs, streaming and many other forms of distribution, a solid understanding of mastering techniques and new media is vital to the music professional. The course provides an in-depth exploration of the tools and techniques involved in professional mastering. The course will endeavor to illustrate the powers of mastering as well as its limitations. A wide range of processing techniques and advanced editing methods will be demonstrated and compared. Tools of the trade will be surveyed with emphasis on what distinguishes hardware and software as truly "mastering grade." Critical listening and the psychoacoustics of decision-making will be explored. Students are taught how to better master their own productions, as well as to recognize when to turn to a mastering professional. Emphasis will be on listening and objective comparison in guiding the mastering approach and in judging its success. Ample real-world case studies will be used to demonstrate approaches and results. Students will do their own mastering on material supplied by the instructor, as well as on each other's music, for critiques and comparisons. Attention will be given to how to prepare for a professional mastering session and how to interact with the mastering engineer. Assignments are drawn from the instructor’s day-to-day work as a mastering engineer. For the final assignment, students will be grouped into two-person teams. Team members will trade positions as “client” and “mastering engineer,” each mastering the other’s production. Students will visit the instructor’s commercial mastering studio to hear their work and to observe the instructor’s approach to some of their productions.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1070 The Art of Recording Classic Drums (2 Credits)
Typically offered occasionally
Drum sounds have the potential to exhibit as much personality on a recording as a vocalist or soloist but we seem to have lost the 'art' part of realizing great drum sounds. Drum sounds can be difficult to obtain if the engineer has not done some 'great master' engineer archaeology. Through this course with Drummer/Producer Rich Pagano, the creative student will learn the techniques necessary to expand their acoustic drum-sound "library." This hands-on studio course covers techniques of drum and head selection, micing, tuning, 'room' sound beauty and phase while recording and recreating the "classic" drum sounds typified by Led Zeppelin, Abbey Road, Motown, Blue Note Jazz, punchy '70s and more. In the end, we will apply it all to a 'modern' drum sound realm.The workshop will be complemented with extensive historical documentation culled from personal interviews with engineering legends, session set-up sheets and studio photos.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1087 New Perspectives in Latin Music: The North (2 Credits)
Integrating aspects of music appreciation and rhythmic training, this class will explore the broad stylistic diversity of Latin American music today by tracing the roots of some of its most impactful styles and connecting them with its newest manifestations. New Perspectives in Latin Music: The North will focus on the Caribbean and the US. The instructor will provide an overview of rhythms, vocal characteristics and musical forms of genres such as Cuban son, merengue, salsa, timba and reggaetón analyzing the new trends and crossovers that this music is experiencing now. The course will also discuss the fluid exchange between these new movements, American popular music and the global scene. All class meetings will incorporate critical listening sessions combined with rhythmic training that will include body percussion, circle singing and improvisation. All new skills and elements will be directly applied in performance, composition and production assignments, including exercises on vocal phrasing and freestyling, beat making and songwriting. The instructor will provide a library of original samples to draw from. Throughout the semester, the students will have a chance to interact directly with internationally renowned percussionists, producers, vocalists and songwriters who will provide their own original approach through guest lectures on selected topics. Basic DAW skills required.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1088 New Perspectives in Latin Music: The South (2 Credits)
Integrating aspects of music appreciation and rhythmic training, this class will explore the broad stylistic diversity of Latin American music today by tracing the roots of some of its most impactful styles and connecting them with its newest manifestations. New Perspectives in Latin Music: The South will focus on South America. The instructor will provide an overview of rhythms, vocal characteristics and musical forms of genres such as cumbia, Brazilian samba, Afro-Peruvian festejo, and Uruguayan candombe analyzing the new trends and crossovers that this music is experiencing now. The course will also discuss the fluid exchange between these new movements, American popular music and the global scene. All class meetings will incorporate critical listening sessions combined with rhythmic training that will include body percussion, circle singing and improvisation. All new skills and elements will be directly applied in performance, composition and production assignments, including exercises on vocal phrasing and freestyling, beat making and songwriting. The instructor will provide a library of original samples to draw from. Throughout the semester, the students will have a chance to interact directly with internationally renowned percussionists, producers, vocalists and songwriters who will provide their own original approach through guest lectures on selected topics. Basic DAW skills required.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1090 Advanced Musicianship: Private Instrumental and Music Theory Application Instruction (2 Credits)
This course is the “hands on” continuation of REMU-UT 1106 Musicianship: Music Theory & Construction. It is designed to guide students through the process of applying all of the concepts taught in the classroom to their particular instrument. Students will work with the instructor to design a personal program that will focus on one or more of the following 6 areas of study: performance guitar lessons, advanced guitar lessons, piano lessons, theory application (performance focus), theory application (songwriting and composition focus), theory application (production focus).
Grading: Ugrd Tisch Graded
Repeatable for additional credit: Yes
REMU-UT 1091 Adv Musicianship:Small Group Instrumental/Music Theory Application Instruction (2 Credits)
This course is the “hands on” continuation of REMU-UT 1106 Musicianship: Music Theory & Construction. It is designed to guide students through a sonic exploration of all of the concepts taught in the Musicianship: Theory and Construction classroom. Students will work in a small group setting exploring the following 2 areas of study: theory application (songwriting) and theory application (digital production).
Grading: Ugrd Tisch Graded
Repeatable for additional credit: Yes
REMU-UT 1093 Advanced Songwriting Workshop (2 Credits)
Typically offered Spring
Having covered the major song forms and experimented in different styles of writing in the ReMu core class Writing the Hit Song, Advanced Songwriting Workshop provides students with a platform to write, co-write, and exchange constructive feedback on songs that establish and engage their own songwriting voice.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: Yes
REMU-UT 1094 Songwriting Intensive: Writing the Hit Song (2 Credits)
Typically offered Summer term
Music sits at the forefront of creative and cultural revolutions, and songwriting remains the fundamental form of its expression. In this course, students will focus on the creative process of songwriting, and will contextualize the art form within a fundamentally shifting industry. Students will write, co-write, and analyze songs in order to establish and engage their own unique songwriting voice.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1097 Enveloped in Sound: Critical Listening in Immersive Environments for Tweakheads (2 Credits)
Typically offered Spring term of even numbered years
Immersive Sound is one of the most significant developments in years, rivaling previous developments in visual and aural formats. From monaural sound to stereophonic sound, analogue to digital audio, or NTSC and high definition television to virtual reality, the audience is now provided with a natural, life-like three-dimensional aural experience. Unlike anything heard before, immersive audio creates the sensation of height all around the listener, transporting them into a more thrilling and deeper audio experience. Surround sound works because of the four ways humans perceive sound: audible, binaural, spatial, and cognitive. A surround sound mix often allows for more intimate, quieter overall sound as there are more point sources to deliver unique sounds for the ear to perceive. Compared with two-speaker, conventional stereo, surround sound offers better perception of object and sound location. Listeners more readily identify the general direction from which sounds are initiated with more accurate perception of tone due to the additional placement options of sound sources. There is also a significantly greater perception of ambience, since the listener can be more immersed in the listening field. But, what does all of this mean? Only by listening with a tuned and critical ear can one make critical evaluations.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1102 Critical Listening for the Recording Studio (2 Credits)
Typically offered Spring
In order for the budding producer to realize their potential in the studio, the ability to describe what is being heard and the skill to articulate possible audio issues is a necessity. Critical listening skills take years to develop and this course is designed to speed up the process of creating ?Golden Ears? and give the student a head start. Through listening exercises, students will develop critical listening skills. Using pink noise, students will learn to identify frequency ranges, boosts and cuts in the theoretical as well as in the practical using music. Weekly drill sets will include: A/B Drills, comparing original recordings with altered versions, identification of time delay, and the onset of reverberation. The course will use the David Moulton?s Golden Ears CD?s and The Producer as Composer ? Shaping the Sounds of Popular Music by Virgil Moorefield as texts. Note: There is a lab fee for this class.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1104 CDI Music Incubator (4 Credits)
This course is an independently funded incubator where enrolled students will serve as the support structure for selected Clive Davis Institute artist projects. By augmenting or acting as the selected artist’s team, students work closely with the instructor, the artist and invited music industry collaborators to provide real time support which may include management, label services, marketing and promotion, publicity, A&R, creative direction, branding and vision, social media, business planning, content creation and day-to-day logistics. Students will be given a budget to coordinate and execute agreed and defined strategies and plans created in conjunction with the artist, with the goal of furthering the artist's career development.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1105 Writing The Hit Song (4 Credits)
Typically offered Fall
This course introduces students to the art of crafting hit songs. We study the ?great? writers of popular music, from Irving Berlin to Babyface, and we make practical applications of that knowledge as we craft songs both collaboratively and individually. Students gain a rudimentary knowledge of musicianship, as well as an overview of the pragmatic aspects of commercial songwriting, including copyrighting and publishing. Note: There is a lab fee for this class.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1106 Musicianship: Music Theory & Construction. (2 Credits)
Typically offered Fall
This course emphasizes a no-nonsense and demystifying presentation of the three elements of music — rhythm, melody, and harmony. You will review and analyze a variety of musical examples — written and recorded — to demonstrate these concepts with a focus on contemporary western music (everything from the Beatles and Stevie Wonder to Wilco, Radiohead, and Katy Perry). The second half of the course is a practical application of the tools. You will learn how to transcribe rhythms, hear chord progressions, and arrange and compose at a basic level. The goal of the course is to enable you to break down a song competently and have a fuller appreciation of what producers/arrangers/composers/songwriters do — skills you will undoubtedly need for a career in the music industry.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1107 Topics: Punk Rock (2 Credits)
Typically offered occasionally
In this course we'll look at how punk exploded in both London and New York in the 1970s, and how the two scenes, though widely divergent in ideals and sound, nonetheless helped shape one another. Discover the tactics that shook up a complacent music industry, overthrowing 1960s rock gods with the raucous, amphetamine punk revolution that still resonates in the sound and style of bands today. The proliferation of independent labels, spearheaded by Rough Trade, became a DIY (do it yourself) model that would be followed round the world and is particularly relevant today as musicians increasingly turn to the Internet as the most immediately effective outlet. Music we'll listen to may include The Sex Pistols, the Clash, and the Slits; film screenings may include The Great Rock 'n Roll Swindle and Rude Boy; and readings may be culled from books by Steve Blush and others.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1109 Podcasting: Crafting Narrative in Audio (2 Credits)
Typically offered occasionally
Scripted podcasting has emerged as a powerful cultural force, and has created its own brand of storytelling. This 7-week course, taught by award-winning producer Chris Morrow (“Mogul,” “Summer of ’85”) takes students through the research, construction and scripting of narrative podcasts, with a special emphasis on stories related to music and the arts.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1114 Topics in Recorded Music: Fela Kuti (2 Credits)
Typically offered occasionally
Enhanced by multiple samplings by hip-hop artists, a successful international musical and an upcoming Hollywood feature film, Fela Anikulapo-Kuti's popularity has exploded since his passing in 1997. Now Fela's fame and authority has ascended to its rightful place in the pantheon of inspirational activist artists like Bob Marley and John Lennon; the first and - so far - only artist from Africa to attain that level of recognition. In this course we examine a number of topics related to Fela and his music and politics: the history of colonial and post-colonial Nigeria; Nigerian traditional and indigenous popular music and their relationship to global pop; Yoruba arts, culture and spiritual beliefs; the intertwining connections between African and African-American music that underpin Fela's sound, Afrobeat; Fela's family history; his unique trajectory as an activist artist who evolved his own sound, Afrobeat; the formative phases of his musical and political development in Nigeria, London and Los Angeles; his role as bandleader and the opening of his club, the Shrine and his state-within--a-state, the Kalakuta Republic; the truth behind the sensational aspects of his lifestyle; Fela's provocative defiance of a series of military dictatorships and frequent incarcerations; Fela's music and lyrics and their co-relation to his times; his relationship to the African and global music business; Fela's relationship with women. Afrobeat Aesthetics; Fela's visual representation of his message; his and the Queens' fashion and dance style.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1115 Topics: Led Zeppelin (2 Credits)
Typically offered occasionally
In name alone, Led Zeppelin carries mountains of meaning: the most successful and arguably the most influential rock band of all time. The creators of a mythic, mystical, guitar-based style that gave birth to the sounds and iconography of heavy metal. Song-crafters whose studio mastery, utilizing recording technology of the day, generated some of the most enduring rock recordings of their era, establishing standards that still define a stylistic and emotional extreme of popular music. The four British musicians who came out of the electric blues scene of the late ‘60s, recording and touring as a unit for a mere twelve years, together achieved a legendary stature that requires much study to fully appreciate more than thirty years after their demise. This course will consider the history of Led Zeppelin from a variety of perspectives: social and stylistic context; the nuts and bolts of their music—live and in the studio; the hows and whys of the band as a business. Using books, articles, videos, and a generous sampling of music, the course will follow their arrival in the final, psychedelic heyday of swingin’ London of the ‘60s; through their roots in folk and acoustic blues and later experimentations with Indian and North African music, and their rise in an era that was hungry for a heavier, more bombastic sound. The course will include special focus on the group’s technical leader and visionary, guitarist Jimmy Page, who came with prior credits as a sessionman and guitarist in the blues-rock band the Yardbirds, as well as other major players in the Zeppelin story—engineer Glyn Johns, manager Pater Grant—who helped build the sonic and popular juggernaut that the band became. In-class guest speakers will be featured, many who participated or witnessed the Led Zeppelin phenomenon, as well as a screening of the group’s concert film The Song Remains The Same.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1116 Topics in Recorded Music: Aretha Franklin (2 Credits)
Typically offered occasionally
In the world of popular music, the word ?soul? has come to mean so many things ? a style, a sound, an attitude, a way of singing, a way of belonging. And a way of categorizing music for the sake of bringing it to market. Yet, there was a time that ?soul? referred to a very specific kind of music in a very specific time and place. This course will trace the exciting history of soul music and the enduring culture that sprang from it, beginning with the rise of rhythm and blues in the ?50s, through the turbulent ?60s, to its crowning moment in 1967 with the arrival of its best-known avatar, the Queen of Soul -- Aretha Franklin. Through reading, discussion, listening sessions, guest speakers and video presentations, we will consider: the various definitions of ?soul?, the roots of soul music and the stars of the style. How the music reflected the social and political spirit of the ?60s, and predicted the triumphant future of black music in America. How the consideration of soul music necessarily raises issues of racial identity, conflict, and dialogue. How the continuing dialogue between white and black America takes place in a musical arena that we still label ?soul?. We will also trace the gospel birth, ?pop? musical development, and explosive arrival of Aretha Franklin ? the ?Natural Woman? whose voice delivered Soul into mainstream popularity and brought African American authenticity into the popular realm. We will look at the many ways that soul music morphed after the ?60s,giving rise to black musical styles like funk, disco, and hip hop, and focus on the evolving relationship of soul music and American race relations as well. This path of inquiry will offer a means to understanding the continuing impact of the music and culture of the soul era, as well as Ms. Franklin?s continuing reign.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1119 Topics in Recorded Music: Bob Marley & Postcolonial Music (2 Credits)
Typically offered occasionally
Often described as “a prophet,” the pioneer Bob Marley transcended the genre he helped develop, Jamaican reggae, to become a musical and revolutionary leader of the 20th Century. On the way, the bi-racial Marley smashed restrictions of race and class imposed on his generation by the colonial system. How did Marley, an effectively fatherless child from a tiny village, achieve his rise to global authority and influence, musically, socio-politically, spiritually, personally and in terms of the industry? Vivien Goldman was Bob Marley’s trusted chronicler and has written two books about him. We will examine the history of Jamaica, its culture and connection with Britain; Marley’s evolution as a writer and musician; his creative partnerships with artists like The Wailers and dubmaster Lee Perry; his lifelong battle to control the business of his music; and his commitment to pan-Africanism and Rasta as a way of life. There will be Special Guests and Screenings. Experience this rare opportunity to learn about Bob Marley from someone who first worked with him at his record company, Island, then wrote about him at home, on the road and in the studio.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1122 Topics: Diasporic Sounds (2 Credits)
Typically offered occasionally
In the early modern era, the movement, migration, and dispossession of Europeans and Africans to the “New World” encouraged the transmission of diverse cultural practices within new contexts. In particular, the “African Diaspora” was forged, as multiple tribes and ethnicities were forcibly transported throughout the Americas during the Atlantic slave trade. In the Americas, varied forms of traditional African life and culture were both preserved and transformed within the confines of enslavement, while distinct ethnic practices converged in newly formed communities and settings, as well as in relation to (ethnic) European Diasporic practices. The topics of this course will travel across the Atlantic and three centuries, as we explore how the sounds of the African Diaspora have been (per)formed, transmitted, circulated, and commodified within the development of popular sounds in the Americas. Diasporic Sounds will begin by engaging the spiritual, improvisatory, rhythmic, and corporeal aspects of how sounds of the African Diaspora were (re)created throughout the New World. Focusing on the United States, the Caribbean, and Brazil, this course will continue to explore the ways in which these diasporic sounds both related and differed across regions and contexts, reflecting the diversity implicit within how we investigate (Africa’s) Diaspora. While the course considers the specific contexts of Africans throughout the Americas, students will gain an understanding of the relationship between identity and popular sound by considering how sounds of the African Diaspora became thematized, commodified, and circulated in the context of an increasingly industrial and globalized world economy during the nineteenth and twentieth centuries. As we explore the range, singularity, and hybridity of (African) Diasporic sounds, we will also cover a number of genres and their performers, including (but not limited to) the folk spiritual of the U.S., Haitian Compas, blackface minstrelsy, samba, Hip Hop, Bomba, Cuban jazz, and reggaeton, in addition to styles such as bluegrass, techno, and British soul.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1124 Topics in Recorded Music: John Coltrane (2 Credits)
Fifty years after his death at the age of 40, John Coltrane still stands as one of the most legendary and celebrated cultural heroes of the 20th century. He’s revered as a patron saint of creative discipline and artistic commitment far beyond the realm of modern jazz, the musical arena in which he excelled. His compositions are widely known and his saxophone sound often imitated, and instantly recognizable: brittle, dark, and deeply searching—a sonic signature that has become a standard for the ideals of musical freedom, personal expression, and spiritual priority in popular music. Today, Coltrane’s influence stretches throughout the musical sphere—from rock and hip hop to classical and electronica—pushing a sense of individual identity and political stance. Yet, despite universal adoration, Coltrane’s life and music remain an enigma: more praised than examined, more acknowledged than fully understood. Offered to NYU students as a means to understanding and learning from John Coltrane’ story—and applying those lessons of his career to their own music—each session in this ambitious seven-class course offers twin components. One part focuses on historical-critical studies: while completing focused readings, and undertaking listening and viewing assignments, students investigate the social, cultural, musical and business aspects of Coltrane’s recordings and other accomplishments. The other portion of the course deals with musicianship, performance, composition, and production: listening closely to Coltrane’s music and completing in-class and out-of-class assignments under careful mentorship, deconstructing Coltrane’s compositional and studio choices, and working collaboratively to create, refine and produce original musical works.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1129 Topics:The Motown Legacy (2 Credits)
Typically offered occasionally
Started in 1959 in Detroit by songwriter and then budding entrepreneur Berry Gordy, Motown quickly became dubbed "Hitsville USA," as it served as home to artists like The Supremes, The Temptations, Mary Wells, Smokey Robinson, Stevie Wonder, Martha and the Vandellas, Michael Jackson and the Four Tops, to name a few. Motown literally changed the concept of the record label and redefined the very idea of entrepreneurship in recorded music, serving as core inspiration to artists from The Beatles to Beyonce. Motown's incredible legacy of success served a crucial role in helping to integrate popular music and thereby helped to rewrite the narrative of race and class in America. One of the greatest examples of an artist expanding the boundaries of his art, of his company?s limitations, of the public?s expectations, and subsequently of what it meant to be a pop artist, is the album What?s Going On by Marvin Gaye, issued by Motown in spring 1971. As we narrow our focus to study this album its roots, its creation, the difficulty with its release, its astonishing success students will be introduced to the legacy of Motown Records. Readings, class lectures, guest speakers, video and audio clips will answer the questions, Who was Marvin Gaye? How did he get to a place where felt he needed to create this album? Why was it difficult for him to get the song and the album released? What was Motown doing politically the years before? What was company policy that created an issue around the album content? What did it mean to be an artist and a producer at Motown or not?
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1143 Topics in Recorded Music: David Bowie (2 Credits)
Typically offered occasionally
David Bowie’s life and work offer a template for how to survive and continue to evolve as a musical artist. David Bowie has kept the music industry, his fans and the world guessing throughout a career that spans over four decades. Bowie himself put his secret best in his prophetic 1972 song, “Ch-ch-ch-ch Changes”; a multi-talented performer, writer and visual artist, Bowie has played his career like an instrument, selecting trends of every generation to process, absorb and adapt into successive phases of his ever-evolving chameleon persona. In this day of ceaseless multiple media, Bowie’s most recent, and typically perverse, coup was keeping secret the recording of his 2013 album, The Next Day, over a two-year recording period. The manipulative bravado of knowing when and how to keep a star’s inaccessibility and mystery, or to expose oneself, as Bowie did on TV in his own darkest days, has given David Bowie a singular, enduring mystique, glamour and respect. Examining the arc of his work is a window into significant scenes of every decade since the 1950s, and offers insight into: the British Blues scene that produced the Beatles and the Rolling Stones; the hippy free festival counter-culture; r’n’b; futurism; electronica;glam and gender games, improvisation; soul; funk; dance; disco; minimalism; ambient; avant-garde theater; and above all, the endlessly evolving sound of US and UK young clubland, including recent jungle and garage, to which Bowie consistently returns to recharge and find a new direction to make his own.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1144 Topics in Recorded Music: (2 Credits)
Typically offered occasionally
Rarely does one group capture the sound and spirit of an era, then expand their original music concept—through songs, film, and even the business of music itself—to a degree that their echoes can be clearly heard forty years later. The Talking Heads, the New York foursome that were born in the cultural maelstrom of New York’s punk scene of the 1970s, achieved all of that and much more in their fifteen year history. Led by forward-thinking frontman David Byrne, the group were the apotheosis of what an “art band” should sound like, driven by musical curiosity while rocking hard and maintaining popular embrace. The band’s timeline encompasses the musical development of popular American music from the ‘70s until now, touching upon groundbreaking trends (punk, disco, World Music and hip-hop), technologies (synthesizers, sampling), musical approaches (song constructionism, lateral thinking), themes and arguments (artist-as-producer, musical imperialism.) That Byrne’s own career continues to produce singular music is further proof that the enduring impact of the Talking Heads is due for serious academic study.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1145 Topics in Recorded Music: Prince (2 Credits)
Typically offered occasionally
One of the top-selling and most gifted and musically versatile artists in the history of popular music, Prince remains an enigmatic and visionary multi-talented performer, songwriter and producer. Prince’s unique history is worth deconstructing: when the 19-year-old shopped his music to recording companies in 1977, he demanded creative control. In a striking move Warner Brothers Records, with no precedent, gave it to him, kicking off a longstanding, groundbreaking, genre-straddling career that continues to this day. To this day, Prince’s music addresses sexuality, politics, social issues and personal identity in a way unseen in previous generations of popular music. He confounded his core R&B audience with New Wave experiments; angered his rock following with gender-bending displays; caused the government to force the recording industry into parental advisory labeling; frustrated his label with non-commercial choices, challenging the notion of what is commercial; established his own label; melded the live and recording business with unique delivery systems of his output, and much more. Prince’s trailblazing path was a prime example of the strength of a new generation of Midwestern, baby boomer performers who carried a bold “Gen X” attitude: Prince (from Minnesota) was born in the same three-month period as Madonna (Michigan) and Michael Jackson (Indiana). This class, through readings, music listening, video clips, film screenings, special guests and performances, will explore the joys and contradictions of Prince’s music and business practices.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1147 Topics in Recorded Music: Sound Studies & Pop Music (2 Credits)
Typically offered occasionally
In the past few decades, “sound studies” has emerged as an official field of critical inquiry: it is best defined as the study of the production, circulation, and materiality of sound and its historical, social, cultural and political effects. Investigating sound — beyond investigating music alone — is a fascinating and rich way to engage in the power and politics of pop music performed by artists as wide ranging as the The Velvet Underground, The Smiths, Nina Simone, Sun Ra, Kendrick Lamar, and FKA twigs, and to delve into the powerful writing of scholars like Daphne A. Brooks, Alexandra T. Vazquez, Gayle Wald, and Alexander G. Weheliye. This course offers an overview of the sound studies with a focus on how the burgeoning interdisciplinary field’s diverse range of issues and methodological questions contribute to ways of writing music criticism on popular music. Students will specifically consider how becoming more aware of our relationship to sound in its various forms creates new ways of understanding how race, gender, and sexuality are heard, felt, and experienced in popular music. Topics and approaches to sound studies discussed in the course include the following: how theories and concepts of listening, of the voice, of noise, and of affect and/or emotion relate to the formation and production of racial, gender, and sexual difference and vice versa; understanding sound reproduction in relation to technology and audiovisual media; and how sound or soundscapes structure everyday life. Students will be asked to experiment with their writing in weekly response papers on music that both students and the instructor will share with the class as well as with critical karaoke presentations. At the end of the course, weekly response papers will be collected into a portfolio, which will include an introduction by students that summarizes their writing for the course. Additionally, students will have the opportunity to create their own experimental sound pieces as well as attend a music performance in New York City, for which students will write reviews that incorporate sound studies theories and concepts.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1153 Race in American Popular Music: From Blackface Minstrelsy to Hip Hop (4 Credits)
Typically offered Fall of even numbered years
The history of popular sound in the United States illuminates how music, movement, and performance are key to a contemporary understanding of how individual and group identity has been composed throughout the nation’s history. Unpacking this sonic history reveals how identity is connected to how race is heard, both historically and at present. In this course, we explore how race is constructed in the development of global popular music and the culture of sound in and before the 20th century in the United States. This course, in particular, will especially focus on music of the global African Diaspora from the late nineteenth century until the 1960s. We will examine how the sounds and performance of blackface minstrelsy—the first native form of popular music in the U.S.—became the basis of contemporary popular sound, ranging from Tin Pan Alley to blues and jazz, as well as to country and rock ‘n roll. Irving Berlin, Big Momma Thornton, Elvis Presley, The Supremes, Johnny Cash, Mick Jagger, Tina Turner, and Jimi Hendrix are but a few of the many artists who will be considered in relation to the history of American popular music and (racialized) sound. Students will consider critical race theories, primary and secondary accounts of popular performance, as well as selected audio and visual material to investigate how race ties into various ideas about individual and community identity, nationalism, and imperialism. In addition, students will gain a nuanced understanding of the relationship between sound, race, and American Music, as they develop critical listening skills to deconstruct how music is performed, heard, and embodied in more contemporary contexts through lectures, discussion, as well as multimedia and written projects. While racial identity will remain central to how we deconstruct the sounds and performance of popular music, aspects of identity such as gender, class, and sexuality will also be closely considered.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1155 Topics in Recorded Music: Gaming (2 Credits)
Typically offered Summer term
Fortnite’s concerts with Marshmello and Travis Scott. Open Pit’s DIY music festivals in Minecraft. League of Legends’ K-pop and hip-hop groups. Indie label Monstercat’s deals with Rocket League and Roblox. Sony Music’s gaming imprint Lost Rings. Grand Theft Auto’s 75 billion minutes of in-game music listening. “Fantasy record label” apps like FanLabel that allow fans to assemble their own “brackets” of artists that they think will do best on the charts. These are just a handful of examples of how music and games are increasingly overlapping as industries, experiences and cultures. There are strong mutual incentives at play: Game developers are blooming into full-fledged media brands and are looking to the music business for both financial and cultural capital, while music companies are looking to diversify their revenue, experiment with more interactive technologies and tap into the power of highly engaged communities online. In the process, this merging of entertainment worlds is also rewriting conventional wisdom of what it means to be an artist, a performer, gamer and especially a fan. This course will give students the critical frameworks and vocabulary to dissect how games are being incorporated into every corner of the music industry — from the moment music is created, to the strategies that inform how music is then disseminated, marketed, monetized and performed. We will draw from a combination of theoretical readings and real-world case studies to dissect video games that center music in their player experience on the one hand, and musical projects that draw direct inspiration from games in their approaches to design, marketing, business and fan engagement on the other hand. Because this field is relatively new, many of these case studies may emerge in real time as the course unfolds. This course will be reading-, writing- and play-intensive, with required and suggested games and soundtracks for students to play, watch or listen to every week. Throughout the course, students will have the opportunity to workshop their own creative, marketing and/or business strategies for hybrid music/game projects, walking away with a concrete plan of action for incorporating the fast-paced gaming industry into their own careers.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1157 Popular Music and Protest in the 21st Century (4 Credits)
The aim of this course is to explore how popular music has been used as an instrument of protest, with a special focus on twenty-first century developments. Although the 1960s is often regarded as the “golden era” of protest music in the United States, many events that have occurred in and outside the nation since 9/11 have led contemporary pop musicians to accept the charge left by musician and activist, Nina Simone: “An artist’s duty, as far as I’m concerned, is to reflect the times.” Thinking through significant American events—including, but not limited to, September 11th 2001 (“9/11”), the re-election of George W. Bush in 2004, Hurricane Katrina, the 2008 financial crisis, same-sex marriage debates, global warming debates, the Presidential election(s) of Barack Obama, the #BlackLivesMatter movement, the nomination of Donald Trump as the 2016 Republican Presidential candidate, and—this course will consider the following questions: What constitutes “protest music” in contemporary popular culture? How do artists create music that inspires others to resist, exist within, or even recognize structures and systems that limit the freedoms of individuals and communities throughout society? How are “isms” and “phobias,” such as racism, sexism, classism, homophobia, Islamophobia, etc., addressed in popular music, and what are the aesthetic, lyrical, and performative characteristics that contribute to the creation and reception of that music? How have technological developments (i.e., the Internet, social media, streaming music, etc.) impacted the way in which artists, producers, and consumers use music as a tool for social activism and protest? What are the possibilities and limitations of protest music within the global capitalist economy in which popular music circulates? After a brief introduction to the history of protest and music in the U.S. at least since the 1960s, each week will focus on a significant moment of crisis or significance in the history of politics and popular music between 2000 and the present. We will consider how these moments were reflected in or sparked by musical and communal protests, as we engage in close readings of selected songs, albums, and video recordings by artists such as Beyoncé, The Dixie Chicks, Lady Gaga, John Mayer, M.I.A., TV on the Radio, John Mellencamp, Pink, Frank Ocean, Kanye West, Hoozier, Erykah Badu, PJ Harvey, J. Cole, Tom Waits, and Kendrick Lamar. In addition to these close readings of performances, we will consider both journalistic and scholarly writings that inform the week’s topics and musical analysis.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1159 Recycling Pop Music: Innovation and Originality (4 Credits)
Typically offered Spring term of even numbered years
In music, is anything really original? The cry of “All music sounds the same these days!” is not just a contemporary critique; it has been a perennial complaint throughout the history of pop music. This class – a collaboration between the History, Writing & Emergent Media and Performance and Songwriting areas of the Clive Davis Institute – will grapple with the vital role that recycling plays in the creation of music, and thus offer divergent and often counterintuitive perspectives on creativity and originality. Through the course of 14 weeks, we'll look at the nature of creation and creativity, and also the way that ideas are reused and renewed; from classical interpolation of folk songs; to basic chord progressions; to cover songs; to the rise of remix; to the cultural thunderclap of digital sampling and its legal implications; to technological trends and fads. Each class will work through a pertinent cultural case study. Part history, part songwriting and production course, the work will be both mental and physical, philosophical and creative, as students will be asked to not only read, write, and debate, but also to complete several music and media composition and production exercises. By exploring the real nature of musical influence and innovation from historical example and through personal practice, students will discover liberating notions of authorship and artistry, enabling them to relinquish the quest for the new, and empowered with techniques to create the good and the vital.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1160 Queer/Popular/Music (4 Credits)
Queer theory is a scholarly field that might be applied to the study of popular music to illuminate how queerness shapes and is shaped by popular culture. This scholarly field emerged out of LBTQ and queer studies to destabilize normative categories of gender (male/female), sexuality (heterosexual/homosexual), and their power relations that have structured American society. Even though queer identities, experiences, and lives have become more accepted in contemporary culture, queer performers still remain largely marginalized in popular music. However, queer performers and queer performances have always been central to popular music and culture, contributing to the destabilization of systematic gender and sexuality norms. This course will explore the relationship between queer theory and popular music, as we consider ways that the spectrum of queer identities has been articulated, constructed, performed, and consumed within popular music and society at large. In addition to introducing students to foundational texts in queer theory and identity studies, we will critically consider how the lives, performance, music, and reception of selected musical figures have contributed to the conversation of queer identity and sexuality in popular culture—from the blues of the 1920s to trap music of the contemporary era. While the class will focus on specific eras of popular music and selected artists, each class will concentrate on a topic that considers queer theories, reading practices, and performances to explore the myriad ways queer identities are central to and impacted by popular culture and society at large. We will also consider how queer identities in and out of popular music are mediated by culture and societal norms, and how these identities are further impacted by race, class, gender, and religion. Bessie Smith, Rosetta Tharpe, Billy Strayhorn, Little Richard, Fanny, Sylvester, Annie Lenox, George Michael, Prince, Meshell Ndegeocello, Ru Paul, Frank Ocean, Lady Gaga, Young Thug, Azalea Banks, and Tyler the Creator are but a few of the artists and cases we will consider within our application of queer theory to the analysis of popular music, sound, and culture in this course.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1161 Activism, Identity and Sound: 21st Century Jazz (2 Credits)
This course will engage with the contemporary and changing jazz scene — including the work of dynamic artists like Esperanza Spalding, Ambrose Akinmusire, Nicole Mitchell and Christian Scott aTunde Adjuah — as a means of telling “new” stories about jazz (with a special focus on identity, activism and the representation of traditionally marginalized voices). Conventionally, the story of jazz has often been upheld in terms of cultural triumph, as a transcendent response to African-American struggle. Jazz has also usually been presented as a story of succession, a chain of creative genius passing from one ‘Great Man’ to the next. These have been persuasive frameworks that define the art form by a canon and a fixed set of values, inscribing a kind of perimeter. What happens outside that borderline — the legacies of multiple avant-gardes, the work of cultural or commercial hybridists, and all too frequently the voices and vantages of women — is by this definition marginal, almost literally an outside concern. This class seeks to correct that marginalization by focusing on issues of intersectional identity and activism (including the #metoo and #blacklivesmatter movements and much more) as they relate to the evolving nature of 21st century jazz. Over the years, jazz has evolved with its circumstances through every station of its history—whether that meant tailoring performances to the length of a 78-rpm record or holding up a mirror to the moral and political turbulence of the 1960s. So the complicated cultural and technological landscape of the early 21st Century provides us with an exciting model for reconfiguring jazz history. In this course, students can expect to learn more about jazz music, as well as issues of identity, intersectionality, and activism, and to read pertinent cultural theory. We’ll also discuss how changes in the music refract and absorb our current political climate. By way of lectures, readings, guests and more, we’ll explore how the music we (mostly) call jazz can still engender a pointed expression of identity and culture. This class is held in conjunction with Winter JazzFest NYC.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1163 Topics in Recorded Music: The 1980s (2 Credits)
This class will analyze how specific changes in the way popular music was produced, distributed, promoted and categorized during the 1980s led to the economic and legal challenges which began to erode existing business models within the entire multinational music industry from the 1990s on. We will often look beyond major label hits to see the profound influence underground dance clubs and emerging trends had on the mainstream. As we listen to songs like Blondie's "Rapture"(1981), The Clash's "The Magnificent Dance," (1981), "Sweet Dreams" by the Eurythmics (1982), Talking Heads's "Slippery People" (1983), Run DMC's " It's Like That" (1983), Shannon's "Let the Music Play" (1983), Dhar Braxton's "Jump Back" (1986) and Keith Sweat's "I Want Her" (1986), students are expected to become familiar with the pivotal changes in musical taste and production techniques that occurred during that landmark decade. This will include the innovative role that specific digital drum machines and sampling keyboards (Linn, Juno, Casio, Roland) played on breakthrough singles like Devo's "Whip It" (1980), D Train's "You’re the One for Me" (1981), Soul Sonic Force's "Looking for the Perfect Beat" (1983),) and Janet Jackson's "What Have You Done for Me Lately" (1986). Digital instrumentation and storage mediums comprehensively transformed the dominant sound of '80s studio recordings and remixes. Students are expected to assess how bedroom MIDI studios, affordable sampling technology, and the cost of commercial CDs vs. rampant bootlegging would later bring troubling new legal concerns to bear upon record companies during the 1990s. We’ll consider how these intellectual property issues culminated in battles over the paradigm-shifting file sharing software that prefigured today's music streaming systems. From a business perspective, students will also learn about the significance of shifting regional and national trends in music radio through the 1980s (as measured by “R&R” magazine ratings and ad rates). This will lead to a better understanding of how music video outlets, major label promotion strategies, and multiple recording formats (vinyl, cassette, CD,) popularized new artists. (Hello, mixtape culture!) A major aim of the class — which will focus on changes in R&B and rap music due to dance clubs and remix culture— is for students to develop a greater understanding of the impact of socioeconomic factors on '80s pop music trends. By the end of the class, students should also have a greater general recognition of the volatile dynamic of systemic racism on national chart position, radio formats, and record sales. Feminist initiatives will be viewed through a more culturally inclusive Post-Colonial Womanist lens. The rising popularity of reggae and other “world music” will see us discuss issues of cultural imperialism, authenticity and appropriation. We’ll also look at the impact British post-punk and new wave artists like The Clash, The Specials, Joy Division, Art of Noise, Soft Cell and Adam Ant had on both classic and college rock radio in the U.S., as well as how AIDS and multiple drug epidemics reshaped the American dance music market. Students should be able to trace how multimedia documentation and corporate sponsorship by companies like Swatch Watches (Fresh Fest) and Budweiser (Superfest) helped mainstream the hip hop underground. Students will recognize and appreciate how a sudden pivotal influx of black music executives facilitated more artist-owned imprints and more artist rights.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1164 Advanced Workshop for Music Journalists, Writers, and Curators (2 Credits)
In this independent study, students with a demonstrated interest in music writing, journalism and/or curation will have the opportunity to pitch a long-form project or several smaller pieces (reviews, blog or vlog posts, podcasts, artist profiles, interviews, etc.); draft, write and rewrite; and have their work edited by one or more professional instructors culled from the Institute’s Writing, History & Emergent Media Studies full-time faculty. This course serves as a companion and contributor to students’ Professional Development coursework and is relevant for entrepreneurial writers, journalists and curators who are in the process of launching writing- or reporting-centric business ventures (including, but not limited to: ad-supported blogs, online music hubs, documentary video projects, audio or visual podcasts or album box sets with a strong written / liner notes component). This course is repeatable for credit, and is open only to Recorded Music majors.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: Yes
REMU-UT 1166 Topics in Recorded Music: The Hip-Hop/Jazz Continuum (2 Credits)
On the surface, hip-hop and jazz might seem to be different genres, born of different histories. Jazz emerged in the 1920s and prioritizes traditional musicianship; hip-hop emerged in the 1970s and favors non-traditional approaches, such as its inaugural trope of two turntables and a microphone. But it’s more progressive to consider jazz and hip-hop as two interrelated personas of black music, connected by a shared interest in black aesthetics—including improvisation, flow, groove, vibe, antiphony/call and response, emotionalism/feeling and percussive attack. This unique course sheds a light on the ongoing and intertwined historical relationship between jazz and hip hop: early 70s artists like The Last Poets and Gil Scot Heron broke new group by conducting early prototype rapping over jazz grooves; by the late 1980s, intrepid hip-hoppers like Stetsasonic, Jungle Brothers, A Tribe Called Quest, De La Soul, and Public Enemy crafted original rhythm tracks drawing on jazz samples from the likes of Maceo Parker and Lonnie Liston Smith. The alternative hip hop movement known as Native Tongues—groups like ATCQ, De La Soul, Gang Starr, Black Sheep, and Digable Planets) forged new bohemian ground, toying with low-end rhythm and sonics. R&B visionaries of the 1990s like D’Angelo, Erykah Badu, The Roots, Slum Village and J Dilla, and Lauryn Hill fused R&B, soul, hip-hop aesthetics and jazz into a seamless ‘neo-soul’ movement, paving ground for today’s music leaders operating at the nexus of jazz and hip-hop like Anderson.Paak, Badbadnotgood, Robert Glasper (and his various bands), Kendrick Lamar and Chance the Rapper. Each class is divided into two components: the first half of each session focuses on historical-critical studies about the relationship between jazz and hip-hop. While completing focused readings, and undertaking listening and viewing assignments, students investigate the social, cultural, musical and business aspects of the relationships between hip-hop and jazz. The second half focuses on musicianship, performance, composition and production. Listening closely to music and completing in-class and out-of-class assignments under careful mentorship, students investigate compositional and studio choices at the nexus of hip hop and jazz, and work collaboratively to create, refine and produce their own original musical works.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1167 Topics in Recorded Music: TDE, SZA, Kendrick & the Power of Collectives (2 Credits)
In our industry’s history, a select few record companies were more than mere mechanisms for the production and distribution of popular music. From early Atlantic, Motown, and Stax; to Philadelphia International; to Def Jam, SST, and Roc-a-Fella, some record labels have been artistic collectives of true believers with an aesthetic and cultural mission that altered the pop landscape. In this 7-week course, we explore one of the most impactful production collectives of the past two decades, Top Dawg Entertainment, founded in 2004 in Southern California by Anthony “Top Dawg” Tiffith; and which launched the careers of the singer SZA, the rappers Jay Rock, Kendrick Lamar, ScHoolboy Q and Ab-Soul, and sound technicians MixedByAli and Sounwave. In so doing, TDE revitalized West Coast hip-hop and American R&B, creating a platform for a group of esoteric Black creators from marginalized communities that ended up not only dominating the pop charts, but scored a Pulitzer Prize. This class puts the work of TDE in the context of post civil-rights, post-9/11 and post-2008 economic crash pop culture and criticism. In particular, students can expect to address topics like: the rise of resurgent radical Black politics (Black Lives Matter, NFL football protest, etc.), the growing popularity of Black existentialism, as well as burgeoning interest in Black power aesthetics and other cultural initiatives. We’ll also look at TDE’s blending of past and present, specifically, how the group’s synthesis of ‘90s Los Angeles rap, Southern psych-rap and New York rap and R&B catered to older and younger listeners, music nerds and casual observers. We'll think about the larger context in which TDE’s music exists: that includes unpacking how its music has unfolded in different ways through the Bush, Obama and Trump presidencies; the 21st century impact of technology and social media on popular music; musical and sonic changes revolving around jazz, rap, soul, and electronic dance; and it includes thinking about TDE’s work in relation to the work of peers like Odd Future, Dr. Dre, Nicki Minaj, Snoop Dogg, OutKast, the Roots, Drake, Kanye West, Common, Wu-Tang Clan, Three 6 Mafia and Jay-Z. Each session will include readings, listening, multimedia presentations and performances to help explore the music of TDE from a variety of perspectives.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1168 Topics in Recorded Music: Amy Winehouse/Erykah Badu (2 Credits)
British singer-songwriter Amy Winehouse had a relatively short musical career in the 2000s and 2010s before her passing — only two studio albums in total — but the impact she left on global popular culture remains revelatory. Merging vintage jazz and old school R&B with contemporary trends in pop, and hip-hop songwriting and production, vocalist Winehouse broke provocative new ground as a fledgling songwriter on her first album Frank (perhaps most notably on the genius single “ Fuck Me Pumps” co-written by producer Salaam Remi); then rose to prominence on the heels of her Mark Ronson produced 2007 Back to Black, a Grammy-winning album featuring trenchant autobiography, Motown and Phil Spector era girl-group sounds, insouciant dance tunes, and stark heart-torn balladry, delivered with Brit-punk irreverence. Though her life was cut tragically short by addiction issues, Winehouse is emblematic of several trends coming together at once: the Brit-pop resurgence of the late 2000s (Lily Allen, Corinne Bailey Rae, Adele, Duffy, etc.), the decade’s retromania for nostalgic sounds, the return of a neo Ronnie Spector ‘bad girl’ culture in pop music, a post-feminist appropriation of punk rock arrogance, and the insurgence of a stylized all-genres approach to pop consistent with the “anything goes” rise of YouTube and streaming service culture. However, Winehouse did not rise to popularity in a vacuum. Though jazz songstresses like Billie Holiday are often cited as Winehouse’s influences, she herself has cited Mahalia Jackson, Dinah Washington, and Texas-born Young Disciple expat Carleen Anderson, as singers she admired; moreover, the so-called “neo-soul” and black bohemian artists of the late 1980s and 1990s created the immediate template that made space for the ascent of Winehouse in the 2000s. In particular, Dallas-reared singer-songwriter Erykah Badu deserves significant recognition for fusing together jazz, R&B, and hip-hop in the late 1990s around old-school solutions. Late 1990s and early 2000s classic albums like Baduizm and Mama’s Gun created the stylistic arena in which those aforementioned singers of the late 2000s would experiment, and Badu’s underappreciated late 2000s New Amerykah sets — to say nothing of her iconic fashion and boho-spiritual Soulquarian style — would provide the template for Black Lives Matter informed, art-as-activism, albums which would arrive in the next decade by artists like Solange, Beyoncé and Kendrick Lamar. From different sides of the pond, and born of different eras, Badu and Winehouse can be seen as symbolic sister rebels cut from the same punky, irreverent, revolutionary spirit. This class primarily juxtaposes the two icons, illuminating the historical tensions between whiteness and blackness; between vaudeville and the black chitlin’ circuit, between Tin Pan Alley and the Brill Building, between an individualistic, anarchic British Jewish woman and a collective-minded, post-Hip Hop Dallas-born African-American “race woman.” Each session in this two-credit, seven-class course will include readings, listening, multimedia presentations and performances, plus a variety of special guests, to help explore the music and life of both of these icons, and where they intersect, from a variety of perspectives.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1170 Women as Entrepreneurs in Popular Music (2 Credits)
Typically offered Fall of even numbered years
Women are making significant contributions as creative and business leaders in all areas of the music industry. In this course, students will learn about entrepreneurship as a process that can be applied to launching and sustaining a successful creative business enterprise in the music industry. Students will first engage in a historical and critical examination of the role that women have played, and the skills that have enables them to succeed, as creative and business leaders in popular music. Class discussions will focus on helping students identify and develop the skills and strengths they need to become future artistic and business entrepreneurs. Guest speakers will include women entrepreneurs who are leading companies and who have successfully started their own business ventures in the music industry. Students will learn the circumstances and strategies behind their success. By the end of the course, students will put together an individual short term and long term plan to advance their careers as future executives and leaders in the music industry.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1171 Reimagining the Music Industry: Black Power, Control and Equity (4 Credits)
This 14-week colloquium puts students in direct conversation with executives, entrepreneurs, and artists to answer the question: What would a truly equitable music business look like for Black Americans? The music business was founded in the early 1900s, in the midst of the Jim Crow era, and the modern industry still retains its contours. Segmented into market sectors which segregate both artists and executives by race and ethnicity, the business of music — by structure and design — continues to place white executives in charge of marketing a culture largely derived from Black Americans, while placing artists and executives of color in marginalized positions. And yet, the narrative of the music business has not been one of constant defeat for Black Americans. In fact, most of the progress out of Jim Crow has been the result of a succession of Black entrepreneurial successes and victories; and these strategies give us also a great sense of possibility. The American music industry, like so many other institutions, is currently being challenged by coalitions and initiatives, as never before, to confront and overcome its deep structural inequities. Racism is far from the only problem: There is the systematic diminishment and exclusion of women; patriarchy and sexism are twinned with and reinforce white dominance. Instead of incremental reform, what actions could we take, both inside and outside the business, to create more radical models that no longer disenfranchise Black people, diminish women, and center whiteness? The final projects will put these ideas into the forms of actionable proposals and business plans.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1172 Radical Experiments in Music Producing: Theory, Philosophy, Practice (4 Credits)
Many modern music legends achieved their level of singular greatness by instinctively or intuitively making radical, left-curve artistic decisions. Think of James Brown staying on the "One"; John Cage closing the piano lid and sitting still for 4'33"; David Bowie creating lyrics through a random text generator. Miles Davis committing jazz heresy with cut-n-paste post-production techniques. In some cases, these creative decisions were so galvanizing that they irrevocably shifted entire worlds of music-making and they altered the very possibilities of artistic discourse. Many achieved this not merely by breaking convention or habit, but by some alternative philosophical stance and strategy (often called radical thinking): reimagining creative approaches and musical concepts; avoiding rules by creating new ones; embracing mistakes and inviting happenchance. This hybrid course blends writing/history/emergent media studies and production studies. The dual purpose is to serve as an introduction to a liberating creative strategy based on a philosophical stance, and an invitation to apply that philosophy to actual music-making. The course will familiarize students with a wide stylistic range of music-makers who employed radical-thinking approaches as a means to creating music, engaging with disruptive theories and/or experimenting with technologies and ideologies, from Oliver Messiaen, John Cage, Karlheinz Stockhausen, Ornette Coleman, Miles Davis, Archie Shepp, The Art Ensemble of Chicago, Yoko Ono, Anthony Braxton, Henry Threadgill, Brian Eno, Sun Ra, Laurie Anderson, Meshell Ndegeocello, Oneohtrix Point Never, Blood Orange, and Kanye West. Students delve into diverse histories of artistic improvisation, chance, intuition, free expression, stream of consciousness, and other approaches. Students will read work on musical freedom and risk by writers like David Borgo, David Toop, and others, as well as investigating anti-normative movements like Dadaism and Fluxus, as well as artistic practices like oblique strategies, generative music, free jazz, and the habitorium. Then—with direct guidance from the production co-instructor, a radical music creator in their own right—students will divide into teams, and the co-instructor will interact with the student teams for 3 or 4 weeks, guiding and helping to develop specific project ideas. Furthering upper-level studies in REMU classes like Experiments in the Future of Performing and Experiments in the Future of Producing, students will be encouraged to explore risky, alternative, and radically experimental avenues of artistic creation. By the end of the course, each team will have produced two or three projects—recordings, multimedia presentations, and/or performances—incorporating ideas and strategies that reflect the historical and cultural avant-garde principles they have been studying. Students will discover a vocabulary and establish a foundational understanding of the concepts and history of the topic. The final week may include a class presentation of the top project from each team, with musicians and/or industry guests commenting on each. The ultimate course goal is for students to break out of routine and create outside the box through exposure to new frameworks, through the shattering of norms and habits, and through an embrace of the unconventional, weird, the out-there.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1173 Topics in Recorded Music: Mariah Carey (2 Credits)
In the 1990s, Billboard named singer-songwriter-producer Mariah Carey the most commercially successful artist of that decade. Today, she remains the eleventh top-selling artist in music history. Though her commercial relevance is undeniable, there has been minimal scholarly investigation into Carey's cultural importance, and the widespread influence of her musicianship and artistry. That neglect is profound, because few artists have had as much impact on vocal style as Mariah Carey, and her inspirational ballads and dance tracks have transformed the sound and feel of pop. Her massive success across styles like pop, R&B, and hip-hop has also changed the industrial business of superstar-oriented popular music. This first-of-its-kind course proposes to deconstruct Mariah Carey's legacy, with a special focus on issues of race, gender, celebrity, globalization and spectacle. Among topics we'll consider: Mariah Carey's use of melisma; the politics of camp, diva-dom and flamboyance; bi-racial identity and passing; changing 90s definitions of the mainstream and alternative; femininity, control and freedom (economic, vocal, etc.); Carey's outsize success at making Christmas music; how and why women of color tend to become marginalized in pop even as they remain at the center of its very construction.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1174 Topics in Recorded Music: Taylor Swift (2 Credits)
The name “Taylor Swift” has become synonymous with a number of big ideas. To some in the music industry, the eleven-time Grammy winner (including three Album of the Year awards) defines 21st century country music’s pivot to pop radio. To others, Taylor Swift is the pop star of the 2010s (with the album sales and chart history to back it up— With sales of over 200 million records worldwide, Swift is one of the best-selling music artists of all time). When deployed pejoratively, however, the name “Taylor Swift” can signal anything from white privilege to white feminism to white taste in an era of intersectionality and Black Lives Matter conscientiousness. Taylor Swift may be a loaded phrase for some, but the career of Taylor Swift is more simply an embodiment of music’s American Dream. Raised on a Christmas tree farm in Pennsylvania, teenage Swift would move to Nashville and become one of the most lauded young songwriters in history. Her music was infatuated with love, innocence and romantic fantasias that would sour in the natural way those fairy tales do as a young woman grows up. By her early twenties, she was a full-fledged pop icon, having ditched Music Row for producers like Max Martin and Jack Antonoff, and tabloid fame. Along the way, there were feuds, squads and political discourses aplenty. Swift has encountered the type of controversies that would destroy most pop stars’ careers and acclaim. But at age 31, she has never been more awarded or acclaimed as a singer-songwriter. Meanwhile, her impact is felt in the success and style of younger singers/songwriters like Olivia Rodrigo, Conan Gray, Phoebe Bridgers and Clairo. This course proposes to deconstruct both the appeal and aversions to Taylor Swift through close readings of her music and public discourse as it relates to her own growth as an artist and a celebrity. Through readings, lectures and more, the class delves into analyses of the culture and politics of teen girlhood in pop music, fandom, media studies, whiteness and power as it relates to her image and the images of those who have both preceded and succeeded her. We’ll also consider topics like copyright and ownership, American nationalism and the ongoing impact of social media on the pop music industry.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1175 Topics in Recorded Music: Indigenous Pop Around the World (2 Credits)
In 2021, New Zealand pop star / singer-songwriter Lorde released a five-song EP of tracks from her Solar Power album, rerecorded in the indigenous Māori language. Five years prior, pop stars like Pharrell Williams, Dave Matthews, Radiohead, and Sia raised their voices at Standing Rock, North Dakota in support of the protests against the Dakota Access Pipeline—one of many increasing threats to the sovereignty of Indigenous Nations. Their celebrity presence was key to attracting mainstream media coverage. However, those artists were largely following the lead of Native hip-hoppers like Supaman, Snotty Nose Rez Kids, and Prolific, who’d already been at Standing Rock since the start of the protests, rallying their own communities. This course will engage students around the growing globalization of Indigenous Peoples movements that intersects culture, politics, and economics. These days, Indigenous musicians like Aboriginal Australian rapper Baker Boy and Canadian First Nations vocalist Jeremy Dutcher are gaining in visibility, topping critics’ year-end Best-Of lists and taking home awards. This “Creative Natives” wave is being felt far outside of music, too: Tzotzil fashion designer Alberto López Gomez from Chiapas, Mexico was featured in New York Fashion Week; Māori filmmaker Taika Waititi won an Oscar for JoJo Rabbit; influential art critics heralded White Mountain Apache music performance artist and film scorer Laura Ortman at the 2020 Whitney Biennial, and Seminole/Muscogee Creek showrunner Sterling Harjo’s Reservation Dogs is the new hit on FX/Hulu. Over the course of seven weeks, students will engage with a wide range of international Indigenous performers and music(s) they may have never heard before—from Māori metal to Saami yoik-rap, Quechua huanyo-pop, Inuit throatsinging, Maasai hip-hop, Hawaiian reggae, Tokelauan dance-pop, and even Tuareg rock. Meanwhile, they will discover how Indigenous artists have not only achieved national, even international, acclaim in popular mainstream music genres, they are increasingly “indigenizing” them with languages, instruments, and vocal techniques from their own cultural traditions. We will also look at some Indigenous stars who broke barriers to achieve mainstream fame as singular personalities and cultural ambassadors: artists like Yma Sumac, Buffy Sainte-Marie, Israel Kamakawiwo’ole, and more. And also, we’ll survey the impact of Indigenous artists and music on the both the mainstream recording industry, as well as the growth of Indigenous-directed business entities doing things on their own terms. Through readings, lectures, and class discussions, students will be introduced to important scholarship on Indigenous identity, (de-)colonization, cultural appropriation, aesthetics, and so on. Any student interested in socio-cultural movements, roots music trends, arts-centered activism, and the ways in which music introduces audiences to the messages within each of these—especially regarding themes like climate justice, human rights, social inclusion, and sovereignty issues—will benefit from taking this class. Students can also expect to leave the course with a greater awareness of, and hopefully appreciation for, the growing global presence and popularity of Indigenous sounds, voices, and views.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1176 Music and Spirituality Across the World (2 Credits)
Music is a spiritual practice. Music and spirituality are intricately related, with spirituality often being the inspiration for the creation of music, and music so often creating the desired atmosphere for a spiritual occasion. This course will explore the relationship between the two by investigating the role of spirituality in music and the role of music in spiritual practices around the world throughout history. All creators of art eventually must reconcile with the spiritual nature of living life as an artist. Whether they reject the notion entirely or look at their artistic practice as lifelong meditative practice – this course will help them find answers. By exploring the history of the relationship between spirituality and religion in music as well as the role of ritual, students will contextualize and articulate their own spiritual paths with a sense of confidence. Through weekly readings, listenings and creative assignments, students will explore all rhythmic, harmonic and melodic aspects, as well as the historic significance of sonic information as it relates to spirituality, mysticism and self-reflection. Basic understanding of and access to a Digital Audio Workstation (Garage Band, ProTools, Logic, Ableton etc) is a requirement as students will be given access to recorded music stems in order to create their own sonic collages within the given parameters of each genre. Students will complete a library of their own works throughout the semester to accompany their reflective writing on each musical style and the culture from which it comes.
Grading: Ugrd Tisch Graded
Repeatable for additional credit: No
REMU-UT 1177 Topics in Recorded Music: What is "Indie" (2 Credits)
In today’s music industry, it has never been easier for DIY artists to self-produce, self-release and self-promote their own music. This has led to a golden age for so-called “independent artists” operating outside of traditional label structures. But as opportunities have emerged for independents, so has a whole industry of middlemen, services and self-appointed experts selling solutions for indie success in the streaming era, as well as mainstream co-optation of indie aesthetics. It all begs the enormous, difficult, hard-to-pin-down question: What is indie? What has
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https://www.britannica.com/topic/list-of-performance-artists-2026516
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list of performance artists
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This is an alphabetically ordered list of performance artists. See also performance art, Fluxus, and
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/topic/list-of-performance-artists-2026516
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This is an alphabetically ordered list of performance artists. See also performance art, Fluxus, and happening.
George Brecht
Jörg Immendorff
Kazuo Ohno
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https://rockyhorror.fandom.com/wiki/Actors
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Actors
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2024-07-29T22:27:06+00:00
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This page include actors. He played Frank-N-Furter in the 2018/19 and 2021/22 UK Tours. Training: Italia Conti Academy of Theatre Arts. Theatre includes: Charles Clarke in Titanic (National Tour), Jacob Rothschild in Rothschild & Sons (Park Theatre), Jack/White Knight in Wonderland (National...
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https://static.wikia.nocookie.net/rockyhorror/images/4/4a/Site-favicon.ico/revision/latest?cb=20210713162620
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Rocky Horror Wiki
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https://rockyhorror.fandom.com/wiki/Actors
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This page include actors.
Page navigation[]
ACTORS AND CREW 🧐 Top searched:
Tim Curry • Richard O'Brien • Patricia Quinn • Little Nell • Susan Sarandon • Barry Bostwick • Meat Loaf • Jonathan Adams • Peter Hinwood • Charles Gray • Kristian Lavercombe • David Bedella • Ben Forster 🎭 Notable Rocky Horror Tour actors:
(2021/22) Stephen Webb • Haley Flaherty • Ore Oduba • Suzie McAdam • Lauren Ingram • Joe Allen • Ben Westhead • Philip Franks (2018/19) Duncan James • Joanne Clifton • Ben Adams • James Darch • Laura Harrison • Miracle Chance • Ross Chisari • Callum Evans • Dom Joly • Steve Punt (2015/16) • Liam Tamne • Ben Freeman • Richard Meek • Diana Vickers • Sophie Linder-Lee • Georgia May-Foote • Jayde Westaby • Kay Murphy • Paul Cattermole • Dominic Andersen (2012/13) Oliver Thornton • Roxanne Pallet • DaniHarmer • Sam Attwater • Abigail Jaye • Ceris Hine • Rhydian Roberts • Harry Neale • Henry Davis 👄 Other Rocky Horror actors and crew:
Julie Covington • Belinda Sinclair • Christopher Malcolm • Paddy O'Hagan • Rayner Bourton • Abigale Haness • Bill Miller • Bruce Scott • Jamie Donnelly • Boni Enten • Kim Milford • Graham Jarvis • Jeremy Newson • Hilary Farr • Tom Hewitt • Alice Ripley • Jarrod Emick • Raúl Esparza • Daphne Rubin-Vega • Joan Jett • Lea DeLaria • Sebastian LaCause • Dick Cavett • Julian McMahon • Lea Michele • Matthew Morrison • Lucas Grabeel • Evan Rachel Wood • Nicole Scherzinger • Melora Hardin • Mike Breman • Jorge Garcia • George Lopez • Jack Nicholson • Danny DeVito • Dianna Agron • Chris Colfer • Kevin McHale • Cory Monteith • Heather Morris • Amber Riley • Naya Rivera • Jenna Ushkowitz • Emma Bunton • Ade Edmondson • Stephen Fry • Anthony Head • Mel Giedroyc • Laverne Cox • Victoria Justice • Ryan McCartan • Reeve Carney • Christina Milian • Annaleigh Ashford • Adam Lambert • Ben Vereen • Staz Nair • Ivy Levan • Kelly Van der Burg • Jeff Lillico • Sal Piro • Jayne Eastwood • Ken Sheppard • Kenny Ortega • Daniel Abineri • Perry Bedden • Sue Blane • Graham Jarvis • Brian Thomson • Lou Adler • Jim Sharman • Michael White ⚡ Other Shock Treatment actors and crew:
Jessica Harper • Cliff De Young • Ruby Wax • Rik Mayall • Barry Humphries • Darlene Johnson • Manning Redwood • Jeremy Newson • Wendy Raebeck • Betsy Brantley • Perry Bedden • Rufus Collins • Christopher Malcolm • Ray Charleson • Eugene Lipinski • Barry Dennen • Imogen Claire • Gary Shail • Donald Waugh • David John • Claire Toeman • Gary Martin • Sinitta Renet • Sal Piro • Julie Atherton • Mark Little • Ben Kerr • Adam Rhys-Davies • Nic Lamont • Rosanna Hyland • Mateo Oxley 👄 Explore the wiki
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UK Tour 2021/22 Cast[]
Stephen Webb[]
He played Frank-N-Furter in the 2018/19 and 2021/22 UK Tours.
Training: Italia Conti Academy of Theatre Arts. Theatre includes: Charles Clarke in Titanic (National Tour), Jacob Rothschild in Rothschild & Sons (Park Theatre), Jack/White Knight in Wonderland (National Tour), Tommy DeVito in Jersey Boys (National Tour), Hal and understudy Warden and Anderson in From Here To Eternity (Shaftesbury Theatre), Pepe in Carnival of the Animals (Riverside Studios), The Boss in Hot Stuff (Curve, Leicester), Charles in Piaf (Curve, Leicester), Jerome K. Jerome in Finding Neverland (Curve, Leicester) directed by Rob Ashford, Phebus in Notre Dame de Paris (Asian Tour), Lowell in Legally Blonde (Savoy Theatre), Laertes and Guildenstern in Hamlet - The Musical (Pleasance Theatre, Edinburgh), The Pharaoh in Joseph and His Amazing Technicolor Dreamcoat (National Tour), Ren in Footloose (National Tour), Glen Guglia in The Wedding Singer (National Tour), Ivey/Luther Rosser in Parade (Donmar Warehouse) directed by Rob Ashford, Benny Southstreet/Sky Masterson in Guys and Dolls (National Tour), Hortensio and understudy Bill in Kiss Me Kate (National Tour), Double J/Bobby C and understudy Tony Manero in Saturday Night Fever (National Tour), Carousel (Perth Theatre) and Tony in West Side Story (Avondale Theatre). Workshops include: The Witches (NT Studio) directed by Lyndsey Turner, Passport to Pimlico, From Here To Eternity and X (Mercury Musical Developments). Concerts include: Katherine Jenkins' 2010 Arena Tour. Television and Film credits include: London Road (National Theatre/Cuba Pictures) directed by Rufus Norris, The Bill, EastEnders and Kevin and Perry Go Large.
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Haley Flaherty[]
She played Janet Weiss in The Rocky Horror Show Live and the 2015/16 and 2021/22 UK Tours.
Theatre Credits Include: Mollie Ralston in The Mousetrap (West End); Tooley in Travels With My Aunt (Chichester Festival Theatre); Miss Honey in Matilda (West End and International tour); Meg Giry in Love Never Dies (West End); Janet in The Rocky Horror Picture Show (West End and UK Tour); Sophie in Mamma Mia (International Tour); Roxie Hart in Chicago (UK Tour); A Midsummer Night’s Dream (Open Air Regent’s Park); Young Phillis in Follies (Royal and Derngate); Fay in The Boyfriend (Open Air Regent’s Park); The Taming Of The Shrew (Open Air Regent’s Park); Thoroughly Modern Milllie (West End); Sandy in Grease (UK Tour); Connie in Saturday Night Fever (West End); Marty in Grease (UK Tour). Film Credits Include: Chaplin (Passion Pictures); Rocky Horror Picture Show (BBC America). Workshops include: Fiona in Being Woody Allen, Stella in Local Hero. Haley trained at The Royal Ballet School, The Dance School of Scotland and Laine Theatre Arts.
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Ore Oduba[]
He played Brad Majors in the 2021/22 UK Tour.
He is a broadcaster and actor who has been entertaining audiences ever since winning the 14th series of Strictly Come Dancing. Hosting flagship shows such as This Morning, The One Show as well as countless hours on BBC Radio 2, Ore is one of the most versatile presenters around, from Saturday night TV host to fronting some of the biggest national events live to audiences of millions - The Royal Wedding of Prince Harry and Meghan Markle and Ariana Grande’s global concert One Love Manchester to name but two. As a performer, Ore is a multi-talented singer, dancer, actor and showman. Making his West End debut as Aaron Fox in Kander and Ebb musical Curtains opposite Jason Manford, Ore has also played the iconic role of Teen Angel in Grease on UK tour. He earned his first screen acting credit in BBC1 primetime drama Noughts + Crosses, while as host of the Strictly Come Dancing Live Tour he has delighted sold-out crowds in many of the UK’s most famous arenas.
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Kristian Lavercombe[]
He played Riff Raff in The Rocky Horror Show Live and in the 2012/13, 2015/16, 2018/19, and 2021/22 UK Tours.
His social media is @lavercombe (Twitter).
He has notched up over thirteen hundred performances of The Rocky Horror Show. Most notably for the UK’s 40th Anniversary Tour, the New Zealand and Asian Tours, and also the recent Australian Tours. Aside from Rocky Horror, Kristian has had leading roles in over 30 professional productions. Highlights include: Jesus in Jesus Christ Superstar (Auckland Theatre Company), Bobby Strong in Urinetown (Downstage Theatre), Leaf Coneybear in The 25th Annual Putnam County Spelling Bee (Auckland Theatre Company), Dodger in Oliver! (The Court Theatre), Puck in Mendelssohn’s A Midsummer Night’s Dream (Christchurch Arts Festival) and The Dark Lady in the New Zealand tour of This Holy Fire of Love (New Zealand Symphony Orchestra). Other shows include: Hamlet, Rosencrantz and Guildenstern Are Dead, Lady Windermere’s Fan, Amy’s View, The Cripple of Inishmaan, The Complete Works of Shakespeare - Abridged, Skylight, Antony and Cleopatra, Alice, Caesar and Cleopatra, Mother Courage, The Queen and I (Court Theatre), My First Time (Fortune Theatre), Rent (Auckland Musical Theatre), The Wizard Of Oz (Peach Theatre) Hushabye Mountain (Auckland International Comedy Festival), Amadeus (Theatre Alive), The Fantasticks (CAN Professional Theatre), Sinbad (The Actors Company) and Tarquin in the TV series Dark Knight (Palana Productions).
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Suzie McAdam[]
She played Magenta in the 2021/22 UK Tour.
She studied Musical Theatre at the Dance School of Scotland then on to Guildford School of Acting, where she graduated with a 1st class BA Hons Degree and was awarded the prestigious GSA cup for Musical Theatre. Theatre credits include: Shona in Local Hero (Old Vic), Ensemble/ Understudy Rosalie Mullins in School of Rock (West End), Swing/ Understudy Lauren & Nicola in Kinky Boots the Musical (West End), Shona/Swing in Local Hero (The Lyceum, Edinburgh); Enid/ Understudy Vivienne in Legally Blonde the Musical (West End, Original London Cast); Tribe/Understudy Shelia in Hair (UK Tour); Ensemble in My Fair Lady (Royal Albert Hall, BBC Proms); Maisie/ Understudy Myrna in Miss Atomic Bomb (The Other Palace); Tinkerbell in Peter Pan (Beck Theatre); Phantom/Understudy Janet, Magenta and Columbia in The Rocky Horror Show(European Tour). Workshop credits include: Cannibal Women of Mars (National Theatre of Scotland); Paradise Lost: Shadows and Wings Workshop (The National Theatre, directed by Rupert Goold); Jason Robert Brown Master class (Soloist); Gavin Creel Master class (Soloist); Vanara the Musical Workshop and cast Recording (Marc McBride).
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Lauren Ingram[]
She played Columbia in the 2021/22 UK Tour.
Theatre credits include: Spitzmaus in Magic Goes Wrong (Vaudeville Theatre) Mary in Reputation (The Other Palace), Cover Eliza Dolittle in My Fair Lady (Teatro San Carlo Opera, Naples, Italy), Janet Weiss in The Rocky Horror Show(UK/European Tour), Marjorie May and Understudy Louise in Gypsy (Savoy Theatre), Angela in Elegies for Angels, Punks and Raging Queens (Criterion Theatre), Beauty in Beauty and the Beast (Theatre Royal Wakefield), Connie and Understudy Billie/Maureen in From Here To Eternity (Shaftesbury Theatre), Narrator in Joseph and the Amazing Technicolor Dreamcoat (UK Tour), Me and My Girl (Kilworth House Theatre.) Screen credits include: Charlotte in Jab Tak Hai Jaan (Yash Chopra Bollywood Film), Gypsy (Savoy Theatre Live Recording), From Here To Eternity (CineStage), Architecture of the Gaudi Jacket - ELEVATION (Blue Fox Productions.) Recordings include: Gypsy (First Night Records) From Here To Eternity (CineStage) My Lands Shore (SimG Recordings.) Workshops include: Kiki in Dusty, Stacey in The Thing About Tom. Lauren also recorded the Track ‘Postcards’ that can be found on iTunes from the Album ‘As Long As I Have Music’ 'Lauren would like to dedicate her performance to her Kipfer Sister, Lucinda Shaw. Forever in our hearts.'
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Joe Allen[]
He played Eddie and Dr. Scott in the 2021/22 UK Tour.
Theatre credits include: Crispin in The Mystery of Raddlesham Mumps with Murray Lachlan Young (Wilton’s Music Hall/National Tour), Ensemble / U/S Mr Mushnik in Little Shop Of Horrors (Regents Park Open Air), Stephano in The Rover (RSC Stratford), Jimmy in The Seven Acts of Mercy (RSC), Mars in The 2 Noble Kinsmen (RSC), Mr Gloop / Oompa Loompa / U/S Augustus in Charlie & The Chocolate Factory (World Premiere - Theatre Royal, Drury Lane). Film credits include: Thing 1 in Dr Seuss’ The Grinch Live (NBC), Greek Fisherman in Mamma Mia: Here I Go Again, Pete in Blood Means Nothing. Commercials include: The Funny One in Girl With The Perfect Smile – Macleans; Pizza Boy in Rugby World Cup, Pukey for Talk to Frank, Morrisons. Cast recordings include: Mamma Mia: Here I Go Again (Original Motion Picture Soundtrack), Charlie and the Chocolate Factory (World Premiere Recording).
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Ben Westhead[]
He played Rocky Horror in the 2021/22 UK Tour.
He graduated from the Guildford School of Acting in 2020. Theatre/film includes: Ensemble in Jack and The Beanstalk (Panto Online), Prince Manky Poo and understudy Aladdin/PC Pong in Aladdin (The Anvil, Basingstoke), King in Oliver! (UK and Ireland Tour), Kurt in The Sound of Music (UK Tour). Credits whilst training include: Fred in A Christmas Carol, Cord Elam in Oklahoma!. Ben is also a qualified personal trainer and enjoys teaching musical theatre. He was thrilled to join the company in his first professional UK Tour as an adult.
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Philip Franks[]
He played the Narrator in the 2012/13, 2015/16, 2018/19, and 2021/22 UK Tours.
Recent theatre work includes: Art, Noises Off, Journey's End (West End); Murder in the Cathedral(London); Flare Path, Breaking the Code, The Winslow Boy, The Hound of the Baskervilles and The Secret of Sherlock Holmes and the The Rocky Horror Show, in which he spent a year in fishnets and toured the UK and Italy. He spent ten years with the RSC, in London and Stratford, on tour and in New York, where many roles included Lysander, Florizel, Bertram and the title role in Hamlet. Philip is also a regular voice on BBC radio, in drama and reading books and poetry. He has recorded many audiobooks, including the complete Campion novels by Margery Allingham. He is also an award winning director. Over 40 productions include shows at the National Theatre (Private Lives, The Heiress).
Zain Ullah (Actor)[]
Zain Ullah (born 4th July 2001) is British Netflix actor and war documentary director from Manchester, United Kingdom known for the film ‘Moor’. Zain Ullah is also a family member of the ICCI Pakistan’s presidential family. He made his first movie appearance in a debut film along side Shaz Khan and Sonya Hussyn. He also appeared as a feature in a British ITV drama called ‘No Foreigners Here: 100% British’ in 2014. He is also known for directing the TV special documentary which is filmed in the Iraq war zone called ‘Life After war: Iraq’.
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UK Tour 2018/19[]
Known actors are Stephen Webb playing Frank-N-Furter, Kristian Lavercombe playing Riff Raff, and Philip Franks playing the Narrator.
Duncan James[]
He played Frank-N-Furter in the 2018/19 UK Tour (19 venues)
He was most recently seen on TV playing the role of Ryan in the popular Channel 4 soap opera Hollyoaks. For his role as Ryan, Duncan was nominated for Most Popular Newcomer for the 2016 NTA's and was nominated for Best Newcomer for the 2017 Soap Awards. 2018 saw Duncan reprise the role of Billy Flynn in the West End production of Chicago. Duncan was born an entertainer, starring in school productions and starting his professional career working at Haven holiday camp, where he was to meet his soon to be bandmates Lee Ryan, Simon Webbe and Antony Costa. Then Blue, the pop group, was born in 2001 and the band immediately signed to Innocent Records. They exploded onto the scene and amassed huge commercial success, racking up forty Number One singles worldwide, three Number One UK albums and sales of over 16 million records.
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Joanne Clifton[]
She played Janet Weiss in the 2018/19 UK Tour.
Her social media is @joanneclifton (Twitter).
Theatre credits include: Alex Owens in the number one UK tour of Flashdance (Selladoor Worldwide); Dale Tremont in Top Hat (Gatehouse Theatre); Millie Dillmount in the number one UK tour of Thoroughly Modern Millie (Spirit Productions); Marilyn Monroe in Norma Jeane - the Musical (Stockwell Playhouse); Streetwalker (Off West End Theatre Award nominee) in Irving Berlin's Face the Music; professional dancer in Strictly Come Dancing Live (UK tour); ensemble in Burn the Floor (Japan/Australian tour) and featured act 'l Can't Dance' at the Mane Chance charity gala (Theatre Royal Windsor). Television credits include: winner of Strictly Come Dancing (BBC1), winner of Strictly Christmas Special (BBC1) and expert presenter on It Takes Two (BBC2).
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Ben Adams[]
He played Brad Majors in the 2018/19 UK Tour (until May 25)
His social media is @benadamsuk (Twitter).
He has been singing and performing since the age of eight. His career started as head chorister at St Margaret's, Westminster Abbey, singing at royal weddings, touring all over Europe, recording two classical albums and frequently singing for the likes of the Queen and the Pope. At 16, he became the lead singer of the band A1, who racked up 10 million record sales, 2 UK number ones, 5 studio albums and toured throughout the world, winning a BRIT Award, among many others. When the band split, Ben took to the studio and is now a successful songwriter and producer, working with the likes of Robin Thicke, Craig David, Ward Thomas and Alexandra Burke, to name but a few.
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James Darch[]
He played Brad Majors in the 2018/19 UK Tour (from May 27)
Theatre credits include: Maggie May (Finborough Theatre); An Officer and a Gentleman (number one UK tour); Wicked (Apollo Victoria, West End); Mamma Mia! (Novello Theatre, West End); White Christmas (West Yorkshire Playhouse); Kiss Me, Kate (BBC Proms, Royal Albert Hall); Cool Rider (Duchess Theatre, West End); Cats (number one UK tour); Cinderella (King's Theatre, Edinburgh); Marguerite (Tabard); Guys and Dolls (Cadogan Hall) and Fresher - the Musical (Edinburgh Festival Fringe). Workshops include: Love of an Angel (Union Theatre); Zanetto (Arts Theatre, West End) and The Diary of Anne Frank.
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Laura Harrison[]
She played Maganta in the 2018/19 UK Tour.
Her social media is @Laura_Harrison0 (Twitter).
Theatre credits include: Vivienne Kensington in Legally Blonde (UK lreland tour); Donna Marie/Miss Jones/understudy Mrs Lyons in Blood Brothers (lreland tour); Lucille Frank in Parade (Hope Mill Theatre); Tiger Lily/understudy Peter Pan in Peter Pan (UK Productions) and Audrey in Little Shop of Horrors (the Kings Arms Theatre). Television credits include: Liz Liver Bird ident (lTV). Concerts include: Jason Manford's Christmas Carol Concert (Bridgewater Hall, Manchester); A Christmas Cracker (Hope Mill Theatre); Time & Music (Blackpool Grand Theatre); Church of Now (BBC Comedy) and BBC Proms 2010 - Prom 19: Stephen Sondheim at 80 (Royal Albert Hall).
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Miracle Chance[]
She played Columbia in the 2018/19 UK Tour.
Her social media is @MiracleSoChance (Twitter).
Theatre credits include: Cynthia in Priscilla Queen of the Desert (Queen's Theatre, Hornchurch); Urleen in Footloose (UK tour); understudy Julia in The Wedding Singer (UK tour); Snozzletrump in The Christmasaurus Live on Stage (Hammersmith Apollo); Susie Alpine in Loserville (Union Theatre) and Viki in Angelina Ballerina (UK and Australian tour). Workshops include: Joh in The Lost Ones (Bush Theatre); Vicki in Everybody's Talking About Jamie (Sheffield Crucible); Hannah in Knights of the Rose and Willow in The Cave - a Folk Opera. Miracle is also a Singer songwriter with her band MAID.
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Ross Chisari[]
He played Eddie/Dr. Scott in the 2018/19 UK Tour.
His social media is @RosGOz (Twitter).
Ross can be seen on both screen and stage around Australia, most recently in the Australian tour of The Rocky Horror Show 2018. Theatre credits include: choreographed and starred alongside Tony Sheldon in Man of La Mancha (Squabbalogic Independent Theatre Company); West Side Story (The Production Company); the new Australian musical Truth, Beauty and a Picture of You (Hayes Theatre Company); The Drowsy Chaperone (also for Squabbalogic); Willie Lopez in Ghost - the Musical (Ambassador Theatre Group, 2016); Disney's Aladdin the Musical, understudying the principle roles of Lago and Omar, and Sydney premiere and national tour of his one man show, Let Me Entertain You: The Robbie Williams Story. Television credits include: ABC-TV's Saturday Night Crack Up and Channel 7's The X-Factor rock edition.
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Callum Evans[]
He played Rocky Horror in the 2018/19 UK Tour.
His social media is @callumevans95 (Twitter).
Theatre credits include: Troppo and understudy Nigel in Salad Days (UK tour); ensemble and acro swing in Chess (London Coliseum); Eugene in Grease (UK and international tour); Jack and the Beanstalk (Pavilion Theatre, Porthcawl); Sportacus in LazyTown Live! (UK tour); Miss Saigon (Prince Edward Theatre, West End); Cool Rider Live (Lyric Theatre, West End); West End Women (Wimbledon Theatre) and Christmas in New York (Palace Theatre, West End). Credits during training at the MTA include: Beauty and the Beast (BGAC); Something Old, Something New, Just So and Just the Ticket (all at the Bridewell Theatre) and Ting Tang Mine (Courtyard Theatre). Television and film credits include: Miss Saigon Live: 25th Anniversary Performance and featured dancer in the music video Cha Cha Heels (Bronski-Bush).
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Dom Joly[]
He played the Narrator in the 2018/19 UK Tour (8 venues)
He is a multi-award winning British comedian and writer, best known for his smash hit hidden camera series Trigger Happy TV. Dom's other comedy television credits include: This is Dom Joly, World Shut Your Mouth and Fool Britannia. He recently brought back an updated and brand-new series of Trigger Happy to huge acclaim for AIM and Channel 4. Dom is also a former diplomat and political producer turned columnist and award-winning travel writer whose books include The Dark Tourist and Scary Monsters and Super Creeps: his latest book The Hezbollah Hiking Club about walking the length of Lebanon (where he grew up) with two friends is out in 2019. Dom also makes TV travel shows including: Dom Joly's Happy Hour and Dom Joly's Excellent Adventure in which he respectively travelled the world drinking too much and went on a mammoth road trip through Lebanon and Syria.
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Steve Punt[]
He played the Narrator in the 2018/19 UK Tour (11 venues) and the 2015/2016 tour.
He has been half of Punt and Dennis for many years, ever since Barry Punt left to pursue other projects and Steve happened to have the right surname. He has co-hosted 45 series of The Now Show on Radio 4 since it started in 1998. Steve also presents the university quiz The Third Degree and the light-hearted investigative show Punt PI for Radio 4. TV writing/performing includes Canned Carrott, The Mary Whitehouse Experience, Punt and Dennis, Mock the Week and Horrible Histories. In 2011 he played Eric Idle in BBC4's Holy Flying Circus. He has toured extensively with Hugh Dennis to theatres all over the country. His experience in musicals is frankly quite limited. He was once in a school production of The Yeoman of the Guard in which he played a Young Maiden of the Tower, but his voice broke half-way through rehearsals.
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2015 Live Film and UK Tour 2015/16[]
Known actors are Haley Flaherty playing Janet Weiss, Kristian Lavercombe playing Riff Raff, and Philip Franks and Steve Punt playing the Narrator.
David Bedella[]
He played Frank-N-Furter in The Rocky Horror Show Live.
His social media is @DavidBedella (Twitter)
David Bedella was born on September 25, 1962 in Chicago, Illinois, USA. He is an actor, known for Batman Begins (2005), Rocky Horror Show Live (2015) and Alexander (2004). Triple Laurence Olivier Award winner for his roles in 'Jerry Springer - The Opera' (2004), Lin Manuel-Miranda's 'In The Heights' (2016) and '& Juliet' (2020). He moved to London from the US in 2001 with partner at the time Reverend Pressley Sutherland. He is originally from Gary, Indiana and spent many years in Chicago and New York. He was awarded the 1986 Joseph Jefferson Award for Best Actor in a Supporting Role in a Musical for his portrayal of Paul in "A Chorus Line" in Chicago, Illinois. Won 'Best Actor In A Supporting Role In A Musical' at the 2016 Laurence Olivier Awards for his portrayal of Kevin in In The Heights. He was a member of the Class of 1980 of Merrillville Senior High School in Merrillville, Indiana.
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Liam Tamne[]
He played Frank-N-Furter in the 2015/2016 UK Tour
His social media is @LiamTamne (Twitter)
Liam trained at Laine Theatre Arts. Theatre includes: Raoul, Vicomte de Chagny in The Phantom of the Opera (Her Majesty's Theatre, directed by Hal Prince), Enjolras in Les Miserables (The Queens Theatre, directed by Sir Trevor Nunn, John Caird & Christopher Key), Jordan in Departure Lounge – original cast (Waterloo East, directed by Pip Minnithorpe), Oden Electric Blues Tribe Member in HAIR (Gielgud Theatre, directed by Diane Paulus), Link Larkin in Hairspray (Shaftesbury Theatre, directed by Jack O'Brien), 1st Cover Fiyero in Wicked (Apollo Victoria Theatre, directed by Joe Mantello), Love Never Dies – Workshop. Television credits include: Series 3 of The Voice (BBC)
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Ben Forster[]
He played Brad Majors in The Rocky Horror Show Live and in the 2012/13 UK Tour (from mid 2013)
His social media is @thebenforster (Twitter)
Ben was crowned the winner of ITV’s Superstar, winning the role of Jesus in the UK, Ireland and Australian arena tour of Andrew Lloyd Webber’s production of Jesus Christ Superstar. Ben is based in London and performs across a national and international spectrum. Originally from Sunderland, Ben works in television, theatre, radio and the music industry. Other credits include: lead vocalist in Thriller Live (Flying Music), director Gary Lloyd for the West End and world tour; El Haj in La Cava (West End, Eon Productions), directed by Steven Dexter and Doody in Grease (West End). Television credits include: The Dream Academy (BBC) and Superstar (ITV). Ben’s album Acoustic Covers is now available from the theatre, subject to availability, on Ben’s official website and you can now download it from iTunes.
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Ben Freeman[]
He played Brad Majors in the 2015/2016 UK Tour (until May 2016)
His social media is @BenFreeman20
Theatre Credits Include: Fonzie in Happy Days (National Tour); Fiyero in Wicked (West End); Warner in Legally Blonde (West End); Same Time Next Year (Jersey); The Chosen Ones (No.1 Tour); Love's a Luxury (No. 1 Tour); Norman in Dreamboats and Petticoats (West End); Big Bruvva The Musical (Edinburgh Festival) and Friedrich in The Sound of Music (Woking/National Tour). Television Credits Include: Emmerdale (YTV); Grange Hill (BBC); Deemob (Talk Back) and Smith & Jones (BBC). Film Credits Include: The Hinterland (Retro-Juice); I Give it a Year (Starcrossed FIlms) and Jewels (Delux Productions S.A.). Other Credits Include: Ben also presented Wake up in the Wild Room and Smash Hits Roadshows for the Disney Channel.
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Richard Meek[]
He played Eddie/Dr. Scott in The Rocky Horror Show Live and in the 2012/13 UK Tour; and Brad Majors in the 2015/16 UK Tour (since June 2016)
His social media is @Richardmeek (Twitter)
Theatre credits include: Mikado in Hot Mikado (Catehouse Theatre - Time Out Critics' Choice); Joseph in Joseph and the Amazing Technicolor Dreamcoat (UK tour); Brad Majors in The Rocky Horror Show (UK. Singapore and New Zealand tours); Codspell (UK tour); Blood Wedding and Petite Rouge (the Scoop): David in Austentat/ous (Landor Theatre): NewsRevue (Canal Cafe Theatre); / Love You. You're Perfect. Now Change (Drama Centre. Singapore): Richard Owen in Giants in the Earth (UK tour); Dustin/cover Greaseball in Starlight Express 25th anniversary cast (Bochum, Germany); Eddie/ Dr Scott in The Rocky Horror Show (UK tour); Sir Galahad in Monty Python's Spamalot (UK tour) and. most recently. Eddie/Dr Scott in the West End production of The Rocky Horror Show, which was also screened live in cinemas across Europe.
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Diana Vickers[]
She played Janet Weiss in the 2015/16 UK Tour (until August 2016)
Her social media is (Twitter)
Theatre Credits Include: Hatched 'n' Dispatched (Dir. Michael Kirk) The Duck House (Dir. Terry Johnson), The Rise and Fall of Little Voice (Dir. Terry Johnson) Television Credits Include: Give Out Girls (Dir. Chloe Thomas). Film Credits Include: The Perfect Wave (Dir. Bruce MacDonald) & Awaiting (Dir.Mark Murphy)
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Sophie Linder-Lee[]
She played Columbia in The Rocky Horror Show Live and the 2015/16 UK Tour (until December 2016) and Janet Weiss in the same tour (December 2016)
Her social media is @sophielinderlee (Twitter)
Theatre Credits Include: Glinda (Standby) in Wicked (Apollo Victoria) ; Swing and understudy Glinda in Wicked (Apollo Victoria) ; ensemble and understudy Lisa in Mamma Mia (Prince of Wales) ; Silence! The Musical (Barons Court Theatre) ; singer/dancer in Apollo Victoria 80th Anniversary Gala (Apollo Victoria) ; lead vocalist on P&O Cruises (Stadium Theatre Company); singer/dancer in Broadway's Spirit of Christmas (US tour); Dance Captain on Jack and the Beanstalk and Cinderella (Towngate Theatre) and Dance Captain on Cinderella for QDOS. Television Credits Include: dancer on The X Factor; The Slammer (CBBC); Top of the Pops and Halifax commercial. Film Credits Include: Mamma Mia! The Movie (pre-production workshop).
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[]
She played Columbia in the 2015/16 Tour (December 2016)
Her social media is @georgiafoote (Twitter)
Georgia has been acting since the age of 12. TV credits include Trollied, Coronation Street, This Is England ’86, Emmerdale, Heartbeat, Casualty, Doctors and Grange Hill. Georgia recently made it to the final of BBC’s Strictly Come Dancing and played the lead role of Holly Golightly in the UK tour of Breakfast at Tiffany’s.
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Jayde Westaby[]
She played Magenta in The Rocky Horror Show Live and in the 2012/13 UK Tour (from mid 2013)
Her social media is @jaydewestaby (Twitter)
Jayde’s credits include playing the role of ‘Mona’ and U/S ‘Velma Kelly’ in CHICAGO (West End), ‘Mary’ in JERSEY BOYS (West End), ‘Rosie’ in SWEET CHARITY (Menier Chocolate Factory), ‘Anita’ on the Fiftieth Anniversary tour of WEST SIDE STORY, ‘Rizzo’ in GREASE (West End), ‘Stephanie Mangano on the UK and Asian tour of SATURDAY NIGHT FEVER, ‘Ali’ in MAMMA MIA! (International Tour), the original London cast if THOROUGHLY MODERN MILLIE (West End) and Disney’s Beauty & the Beast (UK Tour). She trained at the Sandra Needham School of Dance and Bird College of Performing Arts.
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Kay Murphy[]
She played Magenta in the 2015/16 UK Tour
Her social media is @KaySmurph (Twitter)
Theatre Credits Include: Mrs Wormwood - Matilda (Cambridge Theatre, London), Pola Nergi - Tailor-made Man (Arts Theatre, London), Soubrette - Top Hat (UK Tour and Aldwych Theatre, London), Annie Borrowman, Never Forget (UK Tour), Greece and Sweden, Eurobeat (UK Tour and Novello Theatre, London), Cagelle - La Cage Aux Folle (Chocolate Factory, London), Dolores - Babes In Arms (Chichester Festival), Columbia - The Rocky Horror Show (UK Tour, Playhouse Theatre and Comedy Theatre), Velma - Chicago (Adelphi Theatre, London), Liz - Chicago (Adelphi Theatre, London) and Mrs Potiphar - Joseph and the Amazing Technicolor Dreamcoat (New London Theatre, London). She was also a Featured Vocalist and Dancer – Fosse (International Tour).
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Paul Cattermole[]
He played Eddie/Dr. Scott in the 2015/16 UK Tour
His social media is @Paulcattermole1 (Twitter)
Paul is originally from St Albans. His performing started as a child performing in productions such as West Side Story, Le petit rats and Bugsy Malone. Paul landed a role in the National Youth Music Theatre which took him to Taipei, Hong Kong and New York in Pendragon at the age of 16. Paul then went on to win a place at Mountview Academy of Theatre Arts under the direction of Paul Sabey for his vocal work and Geoff Colman for his Acting. Upon graduating, Paul performed in productions of Grand hotel, Le cage aux folles and was directed by Brendan Coyle in The Clearing. Paul's big break came as a surprise as he was signed up to one of the biggest bands with pop mogul Simon Fuller in S club 7. The band went on to gain 4 TV series' and numerous UK hits and awards as well as some of the best and most loyal fans in the world.
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Dominic Andersen[]
He played Rocky Horror in The Rocky Horror Show Live and the 2015/16 UK Tour
His social media is @DominicAndersen (Twitter)
Dominic trained at Arts Educational Schools London. Theatre credits include: Cruel Intentions: The 90s Musical (Edinburgh Fringe); Heathers (Theatre Royal Haymarket); Mamma Mia (Pattihio Theatre, Cyprus) and Rocky Horror Show (Playhouse Theatre/UK Tour). Television credits include: Glow And Darkness (Dreamlight); The Crown (Left Bank Pictures); The Two Wolves (Pilot) (Lupine Films); Humans (Kudos/Channel 4); The Keith Lemon Show (Talkback) and Ant & Dec’s Saturday Night Takeaway (ITV).
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UK Tour 2012/13 Cast[]
Known actors are Ben Forster playing Brad Majors (from July 2013), Kristian Lavercombe playing Riff Raff, Jayde Westaby playing Magenta (from mid 2013), Richard Meek playing Eddie/Dr. Scott, and Philip Franks playing the Narrator.
Oliver Thornton[]
He played Frank-N-Furter in the 2012/13 UK Tour
His social media is @othorntonhome (Twitter)
Theatre credits include: West End: Felicia/Adam in Priscilla Queen of the Desert - the Musical (Palace); Adam in Children of Eden (Crohn's benefit - Prince of Wales); Mark in William Baker's revival of Rent (Duke of York's); Raoul in The Phantom of the Opera (Her Majesty's); Enjolras in Les Miserables (Palace and Queen's); Harrison in Chicago (Adelphi) and The 24 Hour Musicals (Old Vic). Regional and tours: Rusty in Andrew Lloyd Webber's Starlight Express (UK tour and Bochum, Germany); live performances throughout England and Europe with Teatro (joining member of Sony BMG's theatreland supergroup).Film credits include: Leo in Godforsaken and MGM's De-Lovely
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Roxanne Pallett[]
She played Janet Weiss in the 2012/13 UK Tour (until May 2013)
Her social media is @RoxannePallet (Twitter)
British actress Roxanne Pallett stole our hearts when she burst onto our screens in 2005 in ITV's Emmerdale as Jo Stiles-Sugden. She instantly earned national recognition and nominations for Best Actress, Sexiest Female and Best Storyline. Her portrayal as the feisty but flawed character gripped the nation with the biggest domestic abuse storyline on screen that year, earning the actress six nominations and huge critical acclaim for her emotional performance as the vulnerable Jo. Theatre credits include: Teena in Satin 'n' Steel (Oldham Coliseum): The Vagina Monologues (national tour) and Rock Around the Clock (national tour.
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Dani Harmer[]
She played Janet Weiss in the 2012/13 UK Tour (from May 2013)
Her social media is @DaniHarmer (Twitter)
Dani is one of the biggest stars of children's television in BBC history having played the lead role of CBBC's successful The Story of Tracy Beaker and Tracy Beaker Returns. Dani was the winner of the 2010 Children's BAFTA for Best Drama, and was also nominated for her performance as Tracy Beaker in its various incarnations, with the programme attracting another nomination in the Children's Drama category at the 2011 RTS Awards. Dani was also nominated for a Welsh BAFTA for Best Actress for her performance in Tracy Beaker's Movie of Me. Dani's House, her own hit CBBC show also received a 2009 Children's BAFTA nomination. In its last series in 2011, Tracey Beaker Returns, received the highest ratings ever for the BBC channel.
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Sam Attwater[]
He played Brad Majors in the 2012/13 UK Tour (until July 2013)
His social media is @samattwater (Twitter)
Sam Attwater was the winner of the sixth series of ITV1's Dancing on Ice in March 2011. Sam trained at the Italia Conti Academy of Theatre Arts. He landed his first TV role playing Ricky in Hollyoaks in 2009. In January 2010 he joined the cast of Eastenders and its online spin-off EastEnders: E20 playing the character Leon Small. Sam is also a singer. He has starred in the West End musicals such as Tonight's the Night and 20th Century Boy, and he recently released his debut EP, 'Breaking Boundaries'. Television includes: Eastenders Leon BBC for BBC One Director various, E20 Leon BBC for BBC Online Director Michael Keillor, Hollyoaks Ricky Lime Pictures for Channel 4 Director various.
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Abigail Jaye[]
She played Magenta in the 2012/13 UK Tour (until mid 2013)
Her social media is @abijaye (Twitter)
Theatre credits include: Eva Peron in Evita (international and UK tour); Mrs Lyons cover and Mrs Johnstone in Blood Brothers (Phoenix Theatre, West End); Annabel Click in Lucky Stiff (Landor Theatre); Helen and Isabelle in Scrooge (London Palladium, West End); Emma Fairfax in Doctor Dolittie (UK tour); Narrator in Joseph and the Amazing Technicolor Dreamcoat (New London, West End); Miss Iceland in Eurobeat (Edinburgh Festival); Jan in Grease (Cyprus); Angela in Floradora (Finborough Theatre); soloist in the Thursford Christmas Spectacular and soloist in A Tribute to Dirty Dancing. Television credits include: Evita for Dancing With the Stars (Greek television); Nurse Garvey in Hollyoaks (Lime Pictures); Isabelle in Scrooge (BBC's Children in Need/Blue Peter).
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Ceris Hine[]
She played Columbia in the 2012/13 UK Tour
Her social media is @CerisHine (Twitter)
Theatre credits include: Columbia in The Rocky Horror Show (2009/10 UK tour); Ruby-Lee and understudy LV in The Rise and Fall of Little Voice (UK tour); Audrey in Little Shop of Horrors (White Bear Theatre); Maria Pinnunziato in the European premiere of My Big Gay Italian Wedding (Edinburgh and London); Libby in Babes in Arms (Union Theatre): Pamela in Pamela! - the Musical (Lost Theatre); Hermia in A Midsummer Night's Dream (Churchill Gardens, Bromley); Fairy Good in Snow White and the Seven Dwarfs (Cannock and Colne): Jill in Jack and the Beanstalk (Connaught Theatre, Worthing) and Chief Elf in The Night Before Christmas (Epsom Playhouse). Television credits include: Janice in Parents of the Band (BBC1); vocalist (Nickelodeon).
⏫ Go to top of the page ⏫
Rhydian Roberts[]
He played Rocky Horror in the 2012/13 UK Tour (shared role; 8 venues)
His social media is @RhydianMusic (Twitter)
Rhydian is a classically trained baritone, crossover artist, actor and television presenter who has sold in excess of one million records worldwide. He was the runaway star of ITV's The X Factor, showcasing his incredible vocal range with show-stopping performances from a full theatrical account of The Phantom of the Opera, to putting a classical spin on Pink's 'Get the Party Started' , to reducing the judges to tears with his version of 'Somewhere'. Duetting with Katherine Jenkins in the final, he became the audience favourite, and, despite being runner-up. Simon Cowell swiftly signed him to Sony BMG the very next day. His debut eponymous album was released to critical acclaim and. proving his ever-growing popularity, became the highest-selling album by a male newcomer, going double platinum in the UK alone and selling in excess of 600,000 copies. In the same year, he entertained an audience of over 30,000 at Sir Andrew Lloyd Webber's 60th birthday party in London's Hyde Park.
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Harry Neale[]
He played Rocky Horror in the 2012/13 UK Tour (shared role; 8 venues)
Theatre Credits Include: Chuck Cranston in Footloose and Norman in Dreamboats and Petticoats. Other Credits Include: Harry became the lead singer in the boy band Inju5tice, set up by Ian levine and toured all over the UK and Europe in sell out shows alongside the Saturdays, Olly Murs, the Wanted and one of Harry's idols Robbie Williams. He shared the role of Rocky Horror along with Rhydian Neale and Harry Davis.
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Henry Davis[]
He played Rocky Horror in the 2012/13 UK Tour (shared role; 2 venues)
His social media is @henrydavis87 (Twitter)
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https://www.walesonline.co.uk/lifestyle/showbiz/welsh-actor-oliver-thornton-masters-2118984
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Welsh actor Oliver Thornton masters heels for Priscilla Queen of the Desert: the Musical
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[
"Showbiz",
"Abergavenny",
"Monmouthshire"
] | null |
[
"Karen Price",
"www.facebook.com"
] |
2009-03-20T00:00:00+00:00
|
A highly anticipated musical about performing drag artists is rolling into the West End.
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en
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https://s2-prod.walesonline.co.uk/@trinitymirrordigital/chameleon-branding/publications/walesonline/img/favicon.03a6f3e8c0b768c5.ico
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Wales Online
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https://www.walesonline.co.uk/lifestyle/showbiz/welsh-actor-oliver-thornton-masters-2118984
|
A highly anticipated musical about performing drag artists is rolling into the West End. Karen Price speaks to Welsh leading actor Oliver Thornton about outrageous outfits, lavish sets and mastering the make-up
OLIVER Thornton admits he’s gained a newfound respect for women – and it’s all down to high heels. For weeks he’s been easing his feet into pairs of stilettos and trying to learn how to walk without toppling over.
But there’s good reason for his attempts at wearing women’s shoes – he’s one of the leading actors in Priscilla Queen of the Desert the Musical.
The new West End production, which opens next week, is based on the hit 1994 Australian film about two drag queens and a transsexual who get a cabaret gig in the middle of the desert.
When I call Thornton, it’s the day before it opens for previews at London’s Palace Theatre.
So how have rehearsals been going?
“It’s probably not the right day to ask me. It’s a very stressful day,” he admits.
But at least he’s got the hang of his footwear.
“I’m getting used to the high heels,” laughs Thornton, who is playing drag queen Adam.
“I started off dancing from a young age so that makes it a little bit easier,” he says referring to his calf muscles.
“I had a couple of weeks of pain and did a little bit of practising but I’d feel a wally walking around the house making scrambled egg while wearing stilettos. But I’ve had six weeks of rehearsals so now it feels natural. It’s cliched to say you get a newfound respect for women but you really do.”
The Welshman is starring opposite Jason Donovan as Tick and Tony Sheldon as transsexual Bernadette.
And he says the costumes are completely outrageous.
“I have amazing costumes,” says Thornton, who is originally from Abergavenny. “I can’t even begin to describe the budget that the costume department must have.
“It’s like the film times 10 but it’s well known that the film had a really small budget and they had to throw things together from old clothes.
“I have feather back packs and too many thongs to talk about. There are bits of nudity on stage but you get used to it. But coming off stage and walking to your dressing room in just your thong and high heels you feel a bit more vulnerable.”
Priscilla Queen of the Desert the Musical received its world premiere in Sydney in 2006. It has since been seen by more than a million people in Australia and New Zealand and is the most successful Australian musical of all time.
Sheldon played Bernadette in Australia and he’s now looking forward to reprising his award-winning role in the West End alongside Thornton and Donovan.
Thornton, 29, who trained at the Mountview Academy of Theatre Arts in London, saw the film when it was released and says he wanted to audition for it when he heard it was coming to the West End.
“I think when you first watch it you’re taken by the fact it’s a crazy film with amazing costumes and amazing characters,” says Thornton, whose credits include Starlight Express, Les Miserables and Phantom of the Opera.
“But the thing that’s really great is they have an emotional story. You can go and enjoy it for what it is – the costumes, make-up and dancing – or you can enjoy the fact it has a really good story. The film is so powerful because it’s more than just a romp – it has a bit of heart.”
Thornton, who developed his acting skills while at Abergavenny Amateur Operatic and Dramatic Society, says people often describe his character Adam/Felicia, famously played by Guy Pearce in the film, as “catty”.
“But it’s important that people like him,” he says. “What’s nice about him is that he has really got a good sense of fun. He doesn’t mean to upset people, he just does it by accident. It’s lovely playing a role like that. In my normal life I wouldn’t have the courage to sit on top of a bus and lip synch to arias so it’s good fun to step into his shoes.”
Ah yes, the lip synching. The musical is packed with songs but the leading actors don’t actually sing. Instead there is a trio of surrealistic super-charged ladies called The Divas, played by Zoe Birkett, Kate Gillespie and Emma Lindar, who fly in from all over the stage to provide the live singing that the drag queens and transsexual mime to.
It’s just all part of the overall spectacle that makes up the show, which features a giant moving bus called Priscilla as its central character.
“It’s all programmed by a computer,” says Thornton of the bus. “It’s a little bit scary when you first get on it but it’s a phenomenal piece of technology the way it lights up and moves.”
Thornton is full of praise for his co-stars.
“It’s really good to work with Tony. I feel sorry for him really because we call upon him for everything. He is our Oracle. When costume changes aren’t happening we ask him why and he usually has the answer. He’s so good in the show and brings weight to it. When you’re flapping around he’s calm.”
He describes former Neighbours actor Donovan as “wonderful”.
“He’s going to be fantastic in the show. The thing that’s great about Jason is he’s a lovely man and really approachable. I remember him from my childhood watching Neighbours but as so often is the way when you meet famous actors, he’s just a normal person and not like a celebrity.”
With months of hype leading up to the opening performance, you couldn’t blame Thornton for feeling a little nervous about finally stepping out onto that stage but he says he doesn’t suffer from stage fright.
“I always try to think to myself that there’s not an audience there. You have to treat it like a rehearsal. At the end of the day it’s a job.”
Although he’s carved out a career in musicals, Thornton says that in the future he would to do some film.
“It’s a genre I love. I love going to the cinema and have a huge DVD collection. It’s just making that crossover really. But I have been lucky enough to be in the West End.”
As we end our call, Thornton says he’s about to apply his eye shadow.
“I’m doing very subtle smoky eyes. Our make-up designer is a phenomenal drag queen from Australia – he goes through it and then we practise. It’s almost like art. But at the moment mine still looks like face paint.”
After mastering those heels, I’m sure getting the make-up just right will be a piece of cake for Thornton.
Priscilla Queen of the Desert: The Musical is at the Palace Theatre, London from Tuesday. Bookings are currently open until September 26. For details, call 0870 154 4040
Oliver Thornton, Tony Sheldon and Jason Donovan star in Priscilla Queen Of The Desert: The Musical
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Make Your Day
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A Manual for Cleaning Women
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A Manual for Cleaning Women - Movies, TV, Celebs, and more...
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IMDb
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https://www.imdb.com/title/tt11760798/news/
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IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.
More from this title
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Periods of American Literature
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The history of American literature can be divided into several distinct periods. Each has its own unique characteristics, notable authors, and representative works.
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Encyclopedia Britannica
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https://www.britannica.com/list/periods-of-american-literature
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Literature has been created in what is today the United States for thousands of years. This history began with the many oral traditions of the Indigenous peoples of North America.
Among the Native peoples of the Plains, the Southwest, and parts of present-day California, Coyote was the central figure of the age before humans were created. Hundreds of tales told by these peoples describe his exploits as a trickster and as a benefactor to humankind.
Raven was Coyote’s counterpart for the Indigenous peoples of the Northwest Coast, the Pacific coast stretching from what is today Alaska to northwestern California. The Raven cycle is a collection of tales that describe the chaos that Raven creates and the order that eventually emerges, often at Raven’s expense.
The oral traditions of the Pueblo, in the Southwest, include stories about kachinas, the ancestral spirit-beings that exist among humans and actively shape their environment.
Among the Native peoples of the Plains, a wide range of creation myths explain how the world came into existence. The stories of the Comanche, for example, center on the Great Spirit, which created different groups of humans, while the Sioux describe how the winds came into being and, together with the Sun and the Moon, control the universe.
The first colonists of North America wrote, often in English, about their experiences starting in the 1600s. This literature was practical, straightforward, often derivative of literature in Great Britain, and focused on the future.
John Smith wrote histories of Virginia based on his experiences as an English explorer and as president of the Jamestown Colony. These histories, published in 1608 and 1624, include his controversial accounts of the Powhatan girl Pocahontas.
Nathaniel Ward and John Winthrop wrote books on religion, a topic of central concern in colonial America.
Anne Bradstreet’s The Tenth Muse Lately Sprung Up in America (1650) may be the earliest collection of poetry written in and about America, although it was published in England.
A new era began when the United States declared its independence in 1776, and much new writing addressed the country’s future. American poetry and fiction were largely modeled on what was being published overseas in Great Britain, and much of what American readers consumed also came from Great Britain.
The Federalist Papers (1787–88), by Alexander Hamilton, James Madison, and John Jay, shaped the political direction of the United States.
Benjamin Franklin’s Autobiography, which he wrote during the 1770s and ’80s, tells a quintessentially American life story.
Phillis Wheatley, an African woman enslaved in Boston, was the first Black poet of note in the United States. Her first book was Poems on Various Subjects, Religious and Moral (1773). Philip Freneau is another notable poet of the era.
The first American novel, The Power of Sympathy by William Hill Brown, was published in 1789.
Olaudah Equiano’s autobiography, The Interesting Narrative (1789), is among the earliest slave narratives and stands as a forceful argument for abolition.
By the first decades of the 19th century, a truly American literature began to emerge. Though still derived from British literary tradition, the short stories and novels published from 1800 through the 1820s began to depict American society and explore the American landscape in an unprecedented manner.
Washington Irving published the collection of short stories and essays The Sketch Book of Geoffrey Crayon, Gent. in 1819–20. It includes “The Legend of Sleepy Hollow” and “Rip Van Winkle,” two of the earliest American short stories.
James Fenimore Cooper wrote novels of adventure about the frontiersman Natty Bumppo. These novels, called the Leatherstocking Tales (1823–41), depict his experiences in the American wilderness in both realistic and highly romanticized ways.
Romanticism is a way of thinking that values the individual over the group, the subjective over the objective, and a person’s emotional experience over reason. It also values the wildness of nature over human-made order. Romanticism as a worldview took hold in western Europe in the late 18th century, and American writers embraced it in the early 19th century.
Edgar Allan Poe most vividly depicted, and inhabited, the role of the Romantic individual—a genius, often tormented and always struggling against convention—during the 1830s and up to his mysterious death in 1849.
Poe invented the modern detective story with “The Murders in the Rue Morgue” (1841).
The poem “The Raven” (1845) is a gloomy depiction of lost love. Its eeriness is intensified by its meter and rhyme scheme.
The short stories “The Fall of the House of Usher” (1839) and “The Cask of Amontillado” (1846) are gripping tales of horror.
In New England, several different groups of writers and thinkers emerged after 1830, each exploring the experiences of individuals in different segments of American society.
James Russell Lowell was among those who used humor and dialect in verse and prose to depict everyday life in the Northeast.
Henry Wadsworth Longfellow and Oliver Wendell Holmes were the most prominent of the upper-class Brahmins, who filtered their depiction of America through European models and sensibilities.
The Transcendentalists developed an elaborate philosophy that saw in all of creation a unified whole. Ralph Waldo Emerson wrote influential essays, while Henry David Thoreau wrote Walden (1854), an account of his life alone by Walden Pond. Margaret Fuller was editor of The Dial, an important Transcendentalist magazine.
Three men—Nathaniel Hawthorne, Herman Melville, and Walt Whitman—began publishing novels, short stories, and poetry during the Romantic period that became some of the most-enduring works of American literature.
As a young man, Hawthorne published short stories, most notable among them the allegorical “Young Goodman Brown” (1835). In the 1840s he crossed paths with the Transcendentalists before he started writing his two most significant novels—The Scarlet Letter (1850) and The House of the Seven Gables (1851).
Melville was one of Hawthorne’s friends and neighbors. Hawthorne was also a strong influence on Melville’s Moby Dick (1851), which was the culmination of Melville’s early life of traveling and writing.
Whitman wrote poetry that described his home, New York City. He refused the traditional constraints of rhyme and meter in favor of free verse in Leaves of Grass (1855), and his frankness in subject matter and tone repelled some critics. But the book, which went through many subsequent editions, became a landmark in American poetry, and it epitomized the ethos of the Romantic period.
During the 1850s, as the United States headed toward civil war, more and more stories by and about enslaved and free Black people were written.
William Wells Brown published what is often considered the first Black American novel, Clotel, in 1853. He also wrote the first African American play to be published, The Escape (1858).
In 1859 Frances Ellen Watkins Harper and Harriet E. Wilson became the first Black women to publish fiction in the United States.
Harriet Beecher Stowe’s Uncle Tom’s Cabin, first published serially in 1851–52, is credited with raising opposition in the North to slavery.
Harriet Jacobs published a searing account of her life as an enslaved woman in 1861, the same year that the Civil War began. It became one of the era’s most influential slave narratives.
Emily Dickinson lived a life quite unlike other writers of the Romantic period: she lived largely in seclusion; only a handful of her poems were published before her death in 1886; and she was a woman working at a time when men dominated the literary scene. Yet her poems express a Romantic vision as clearly as Whitman’s or Poe’s. They are sharp-edged and emotionally intense. Here are five of her notable poems:
“I’m Nobody! Who are you?”
“Because I could not stop for Death –”
“My Life had stood – a Loaded Gun”
“A Bird, came down the Walk –”
“Safe in their Alabaster Chambers”
The human cost of the Civil War in the United States was immense: more than 2,300,000 soldiers fought in the war, and perhaps as many as 851,000 people died in 1861–65. Walt Whitman claimed that “a great literature will…arise out of the era of those four years,” and what emerged in the following decades was a literature that presented a detailed and unembellished vision of the world as it truly was. This was the essence of realism. Naturalism was an intensified form of realism. After the grim realities of a devastating war, these styles became writers’ primary mode of expression.
Samuel Clemens was a typesetter, a journalist, a riverboat captain, and an itinerant laborer before he became, in 1863 at age 27, Mark Twain. He first used that name while reporting on politics in the Nevada Territory. It then appeared on the short story “The Celebrated Jumping Frog of Calaveras County,” published in 1865, which catapulted him to national fame. Twain’s story was a humorous tall tale, but its characters were realistic depictions of actual Americans. Twain deployed this combination of humor and realism throughout his writing. The following are some of Twain’s notable works:
Major novels: The Adventures of Tom Sawyer (1876), Adventures of Huckleberry Finn (1885)
Travel narratives: The Innocents Abroad (1869), Roughing It (1872), Life on the Mississippi (1883)
Short stories: “Jim Baker’s Blue-Jay Yarn” (1880), “The Man that Corrupted Hadleyburg” (1899)
Naturalism, like realism, was a literary movement that drew inspiration from French authors of the 19th century who sought to document, through fiction, the reality that they saw around them, particularly among the middle and working classes living in cities.
Theodore Dreiser was foremost among American writers who embraced naturalism. His Sister Carrie (1900) is the most important American naturalist novel.
Maggie: A Girl of the Streets (1893) and The Red Badge of Courage (1895), by Stephen Crane, and McTeague (1899), The Octopus (1901), and The Pit (1903), by Frank Norris, are novels that vividly depict the reality of urban life, war, and capitalism.
Paul Laurence Dunbar was an African American writer who wrote poetry in Black dialect—“Possum” and “When de Co’n Pone’s Hot”—that were popular with his white audience and gave them what they believed was reality for Black Americans. Dunbar also wrote poems not in dialect—“We Wear the Mask” and “Sympathy”—that exposed the reality of racism in America during Reconstruction and afterward.
Sophia Alice Callahan, who was of Muskogee Creek descent, published in 1891 what is often considered the first novel by a Native woman: Wynema: A Child of the Forest. Zitkala-Sa, whose mother was Yankton Sioux, published a collection of Dakota stories, Old Indian Legends, in 1901. She used this collection and other early writings to document her experience of forced assimilation, and she spent the rest of her life advocating for Native peoples.
Henry James shared the view of the realists and naturalists that literature ought to present reality, but his writing style and use of literary form sought to also create an aesthetic experience, not simply document truth. He was preoccupied with the clash in values between the United States and Europe. His writing shows features of both 19th-century realism and naturalism and 20th-century modernism. Some of his notable novels include:
The American (1877)
The Portrait of a Lady (1881)
What Maisie Knew (1897)
The Wings of the Dove (1902)
The Golden Bowl (1904)
Advances in science and technology in Western countries rapidly intensified at the start of the 20th century and brought about a sense of unprecedented progress. The devastation of World War I and the Great Depression also caused widespread suffering in Europe and the United States. These contradictory impulses can be found swirling within modernism, a movement in the arts defined first and foremost as a radical break from the past. But this break was often an act of destruction, and it caused a loss of faith in traditional structures and beliefs. Despite, or perhaps because of, these contradictory impulses, the modernist period proved to be one of the richest and most productive in American literature.
A sense of disillusionment and loss pervades much American modernist fiction. That sense may be centered on specific individuals, or it may be directed toward American society or toward civilization generally. It may generate a nihilistic, destructive impulse, or it may express hope at the prospect of change.
F. Scott Fitzgerald skewered the American Dream in The Great Gatsby (1925).
Richard Wright exposed and attacked American racism in Native Son (1940).
Zora Neale Hurston told the story of a Black woman’s three marriages in Their Eyes Were Watching God (1937).
Ernest Hemingway’s early novels The Sun Also Rises (1926) and A Farewell to Arms (1929) articulated the disillusionment of the Lost Generation.
Willa Cather told hopeful stories of the American frontier, set mostly on the Great Plains, in O Pioneers! (1913) and My Ántonia (1918).
William Faulkner used stream-of-consciousness monologues and other formal techniques to break from past literary practice in The Sound and the Fury (1929).
John Steinbeck depicted the difficult lives of migrant workers in Of Mice and Men (1937) and The Grapes of Wrath (1939).
T.S. Eliot was an American by birth and, as of 1927, a British subject by choice. His fragmentary, multivoiced The Waste Land (1922) is the quintessential modernist poem, but his was not the dominant voice among American modernist poets.
Robert Frost and Carl Sandburg evocatively described the regions—New England and the Midwest, respectively—in which they lived.
The Harlem Renaissance produced a rich coterie of poets, among them Countee Cullen, Langston Hughes, Claude McKay, and Alice Dunbar Nelson.
Harriet Monroe founded Poetry magazine in Chicago in 1912 and made it the most important organ for poetry not just in the United States but for the English-speaking world.
During the 1920s Edna St. Vincent Millay, Marianne Moore, and E.E. Cummings expressed a spirit of revolution and experimentation in their poetry.
Drama came to prominence for the first time in the United States in the early 20th century. Playwrights drew inspiration from European theater but created plays that were uniquely and enduringly American.
Eugene O’Neill was the foremost American playwright of the period. His Long Day’s Journey into Night (written 1939–41, performed 1956) was the high point of more than 20 years of creativity that began in 1920 with Beyond the Horizon and concluded with The Iceman Cometh (written 1939, performed 1946).
During the 1930s Lillian Hellman, Clifford Odets, and Langston Hughes wrote plays that exposed injustice in America.
Thornton Wilder presented a realistic (and enormously influential) vision of small-town America in Our Town, first produced in 1938.
The United States, which emerged from World War II confident and economically strong, entered the Cold War in the late 1940s. This conflict with the Soviet Union shaped global politics for more than four decades, and the proxy wars and threat of nuclear annihilation that came to define it were just some of the influences shaping American literature during the second half of the 20th century. The 1950s and ’60s brought significant cultural shifts within the United States driven by the civil rights movement and the women’s rights movement. By the turn of the 21st century, American literature was recognized as being a complex, inclusive story that is grounded on a wide-ranging body of past writings produced in the United States by people of different backgrounds and is open to the experiences of more and more Americans in the present day.
Literature written by African Americans during the contemporary period was shaped in many ways by Richard Wright, whose autobiography Black Boy was published in 1945. He left the United States for France after World War II, repulsed by the injustice and discrimination he faced as a Black man in America; other Black writers working from the 1950s through the ’70s also wrestled with the desires to escape an unjust society and to change it.
Ralph Ellison’s novel Invisible Man (1952) tells the story of an unnamed Black man adrift in, and ignored by, America.
James Baldwin wrote essays, novels, and plays on race and sexuality throughout his life, but his first novel, Go Tell It on the Mountain (1953), was his most accomplished and influential.
Lorraine Hansberry’s A Raisin in the Sun, a play about the effects of racism in Chicago, was first performed in 1959.
Gwendolyn Brooks became, in 1950, the first African American poet to win a Pulitzer Prize.
The Black Arts movement was grounded in the tenets of Black nationalism and sought to generate a uniquely Black consciousness. The Autobiography of Malcolm X (1965), by Malcolm X and Alex Haley, is among its most-lasting literary expressions.
Toni Morrison’s first novel, The Bluest Eye (1970), launched a writing career that would put the lives of Black women at its center. She received a Nobel Prize in 1993.
In the 1960s Alice Walker began writing novels, poetry, and short stories that reflected her involvement in the civil rights movement.
The American novel took on a dizzying number of forms after World War II. Realist, metafictional, postmodern, absurdist, autobiographical, short, long, fragmentary, feminist, stream of consciousness—these and dozens more labels can be applied to the vast output of American novelists. Little holds them together beyond their chronological proximity and engagement with contemporary American society. These are representative novels:
Norman Mailer: The Naked and the Dead (1948), The Executioner’s Song (1979)
Vladimir Nabokov: Lolita (1955)
Jack Kerouac: On the Road (1957)
Thomas Pynchon: The Crying of Lot 49 (1966)
N. Scott Momaday: House Made of Dawn (1968)
Kurt Vonnegut: Slaughterhouse-Five (1969)
Eudora Welty: The Optimist’s Daughter (1972)
Philip Roth: Portnoy’s Complaint (1969), American Pastoral (1997)
Ursula K. Le Guin: The Left Hand of Darkness (1969)
Saul Bellow: Humboldt’s Gift (1975)
Toni Morrison: Song of Solomon (1977), Beloved (1987)
Alice Walker: The Color Purple (1982)
Sandra Cisneros: The House on Mango Street (1983)
Jamaica Kincaid: Annie John (1984)
Maxine Hong Kingston: Tripmaster Monkey: His Fake Book (1989)
David Foster Wallace: Infinite Jest (1996)
Don DeLillo: Underworld (1997)
Ha Jin: Waiting (1999)
Jonathan Franzen: The Corrections (2001)
Junot Díaz: The Brief Wondrous Life of Oscar Wao (2007)
Colson Whitehead: The Underground Railroad (2016)
Ocean Vuong: On Earth We’re Briefly Gorgeous (2019)
The Beat movement was short-lived—starting and ending in the 1950s—but had a lasting influence on American poetry during the contemporary period. Allen Ginsberg’s Howl (1956) pushed aside the formal, largely traditional poetic conventions that had come to dominate American poetry. Raucous, profane, and deeply moving, Howl reset Americans’ expectations for poetry during the second half of the 20th century and beyond. Among the important poets of this period are the following:
Anne Sexton
Sylvia Plath
John Berryman
Donald Hall
Elizabeth Bishop
James Merrill
Nikki Giovanni
Robert Pinsky
Adrienne Rich
Rita Dove
Yusef Komunyakaa
W.S. Merwin
Tracy K. Smith
In the early decades of the contemporary period, American drama was dominated by three men: Arthur Miller, Tennessee Williams, and Edward Albee. Miller’s Death of a Salesman (1949) questioned the American Dream through the destruction of its main character, while Williams’s A Streetcar Named Desire (1947) and Cat on a Hot Tin Roof (1955) excavated his characters’ dreams and frustrations. Albee’s Who’s Afraid of Virginia Woolf? (1962) rendered what might have been a benign domestic situation into something vicious and cruel. By the 1970s the face of American drama had begun to change, and it continued to diversify into the 21st century. Notable dramatists include:
David Mamet
Amiri Baraka
Sam Shepard
August Wilson
Ntozake Shange
Wendy Wasserstein
Tony Kushner
David Henry Hwang
Richard Greenberg
Suzan-Lori Parks
Young Jean Lee
Jeremy O. Harris
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https://www.broadwayworld.com/people/Oliver-Thornton/
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Oliver Thornton: Credits, Bio, News & More
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Searching to find out more about Oliver Thornton? We have a full Biography, Photos, Theatre Credits, TV and Movies, Videos and more! Check out Oliver Thornton's bio now including film and tv, as well as on stage.
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https://www.broadwayworld.com/people/Oliver-Thornton/
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Oliver Thornton News
BEN, VIRGINIA AND ME: THE LIBERACE MUSICAL Gets Concert at National Arts Gallery
The new musical Ben, Virginia and Me: The Liberace Musical will get a special concert presentation at theNational Arts Gallery (15 Gramercy Park South) on Monday, April 17 at 7:30 pm, before debuting a fully staged production at this year's New York Musical Festival (NYMF). Ben, Virginia and Me: The Liberace Musical has a book by Roger O. Hirson (Tony Nominee for Pippin) and music and lyrics by Barbara Carole Sickmen and will be directed by Paul A. Stancato (National Tours: Flashdance, The Lion King, The Wedding Singer) and Music Director Jesse Warkentin (National Tours: Wicked, Cinderella). Ben, Virginia and Me: The Liberace Musical is produced by Ron Sickmen. Tickets are FREE to the public but reservation are necessary, they can be made by emailingtheatre@thenationalartsclub.org.
BWW Review: SIDE BY SIDE BY SONDHEIM at Kansas City Repertory Theatre
recollects the early section of an unbelievable catalog of work.
Stars Set for SIDE BY SIDE BY SONDHEIM at KC Rep This Winter
Kansas City Repertory Theatre has announced the cast of this mid-season addition to its 2016/2017 season. Artistic Director Eric Rosen will direct a starry cast in the acclaimed musical revue Side by Side by Sondheim featuring actors Jenny Ashman, Shanna Jones, Orville Mendoza and Oliver Thornton.
Stars Set for SIDE BY SIDE BY SONDHEIM at KC Rep This Winter
Kansas City Repertory Theatre has announced the cast of this mid-season addition to its 2016/2017 season. Artistic Director Eric Rosen will direct a starry cast in the acclaimed musical revue Side by Side by Sondheim featuring actors Jenny Ashman, Shanna Jones, Orville Mendoza and Oliver Thornton.
Mary Bridget Davies, Christine Ebersole, BROADWAY PRINCESS PARTY and More Will Warm Up 54 Below This January
This January, Feinstein's/54 Below, Broadway's Supper Club & Private Event Destination, presents some of the brightest stars from Broadway, cabaret, jazz, and beyond. Scroll down for more details!
Farah Alvin, Devin Ilaw and More to Sing Favorite BROADWAY'S GUILTY PLEASURES at Feinstein's/54 Below
Feinstein's/54 Below, Broadway's Supper Club, presents 'Broadway's Guilty Pleasures' on January 2nd, 2017 at 9:30 PM.
Stars Set for SIDE BY SIDE BY SONDHEIM at KC Rep This Winter
Kansas City Repertory Theatre has announced the cast of this mid-season addition to its 2016/2017 season. Artistic Director Eric Rosen will direct a starry cast in the acclaimed musical revue Side by Side by Sondheim featuring actors Jenny Ashman, Shanna Jones, Orville Mendoza and Oliver Thornton.
BWW Review: CAMELOT at Capital Repertory Theatre
Beautiful melodies fill Capital Repertory Theatre with director Maggie Mancinelli-Cahill's staging of Frederick Loewe and Alan Jay Lerner's "Camelot." The musical's score is composed of lush, romantic, and memorable tunes that help to move along the somewhat flawed book.
BWW Review: Shakespeare Theatre Company Presents a Bold New THE TAMING OF THE SHREW
What a time for THE TAMING OF THE SHREW. It's a brave choice given its divisive, misogynistic text, but Shakespeare Theatre Company pulls it off under the bold direction of Ed Sylvanus Iskander. With an all-male cast, and featuring the contemporary pop music of Tony winner Duncan Sheik, this is Shakespeare with a decidedly modern sensibility.
Ed Sheeran, James Bay Among Ivor Novello Awards Nominees; Full List!
BASCA, in association with PRS for Music, announce the nominations for the 61st Ivor Novello Awards [The Ivors]. The Ivors will take place on Thursday 19th May at the Grosvenor House, Park Lane, London.
Broadway at the Cabaret - Top 5 Picks for February 9-16, Featuring Kyle Dean Massey, Matt Doyle, and More!
Broadway's 40 theatres aren't the only places to catch performances from your favorite stars! Well after Broadway orchestras begin their overtures, ensemble members take their dance breaks, and performers belt out their eleven o'clock numbers, the party continues at various cabaret venues throughout New York City. Below, BroadwayWorld brings you some cabaret highlights for this week as picked by our theatre editors, including: The Songs of Tor & Lisa, ft. Brandon Victor Dixon, and more; New Musicals at 54: Fallout by Kyle Jarrow and Nick Blaemire; Kyle Dean Massey at 54 Below; Jasper In Deadland CD Release Concert; and Broadway Couples Sing I Do! I Do! For Valentine's Day.
Liliane Montevecchi, JASPER IN DEADLAND & More Set for Feinstein's/54 Below Next Week
Next week, FEINSTEIN'S/54 BELOW, Broadway's Supper Club, presents some of the brightest stars from Broadway, cabaret, jazz and beyond. To purchase tickets or for more information, visit www.54Below.com/Feinsteins or call (646) 476-3551.
BWW Interview: Tor Hyams and Lisa Rothauser Preview 'The Songs of Tor and Lisa'
'The Songs of Tor and Lisa' is about to hit the Feinstein's/54 Below stage on February 8, 2016, but before that BroadwayWorld sat down with Grammy-nominated songwriter? Tor Hyams and veteran Broadway performer Lisa Rothauser to chat about their upcoming concert.
STAGE TUBE: They Got Life! Watch Highlights from HAIR at Music Circus
To round out its 65th season, Music Circus presents HAIR, the groundbreaking musical that defined a generation and introduced rock 'n' roll to Broadway. Set against a backdrop of the Vietnam era, a group of late 1960s youth join a social revolution and 'Let the Sun Shine In.' Featuring hit songs such as 'Aquarius,' 'Let The Sun Shine In' and 'Easy To Be Hard,' HAIR is an exhilarating and emotionally intense ride. Click below to watch highlights from the show!
Photo Flash: First Look at Stephanie Mieko Cohen, Laura D'Andre, Peter Saide, Oliver Thornton and More in HAIR at Music Circus
To round out its 65th season, Music Circus presents Hair, the groundbreaking musical that defined a generation and introduced rock 'n' roll to Broadway. Set against a backdrop of the Vietnam era, a group of late 1960s youth join a social revolution and 'Let the Sun Shine In.' Featuring hit songs such as 'Aquarius,' 'Let The Sun Shine In' and 'Easy To Be Hard,' Hair is an exhilarating and emotionally intense ride that Variety calls 'a rock musical that communicates viscerally with its audience. The score's vigorousness and variety are remarkable.'
Stephanie Mieko Cohen, Laura D'Andre, Peter Saide, Oliver Thornton and More Bring HAIR to Music Circus Tonight
To round out its 65th season, Music Circus presents Hair, the groundbreaking musical that defined a generation and introduced rock 'n' roll to Broadway. Set against a backdrop of the Vietnam era, a group of late 1960s youth join a social revolution and 'Let the Sun Shine In.' Featuring hit songs such as 'Aquarius,' 'Let The Sun Shine In' and 'Easy To Be Hard,' Hair is an exhilarating and emotionally intense ride that Variety calls 'a rock musical that communicates viscerally with its audience. The score's vigorousness and variety are remarkable.'
WAKE UP with BWW 8/20/2015 - WAITRESS Opens in Cambridge and More!
Good morning, BroadwayWorld! Because we know all our readers eat, sleep and breathe Broadway, what could be better than waking up to it? Today's big news: WAITRESS brings pie and the sounds of Sara Bareilles to Cambridge tonight!
WAKE UP with BWW 8/18/2015 - INFORMED CONSENT Off-Broadway, FULL HOUSE in Toronto and More!
Good morning, BroadwayWorld! Because we know all our readers eat, sleep and breathe Broadway, what could be better than waking up to it? Today's big news: INFORMED CONSENT and A DELICATE SHIP start up off-Broadway, FULL HOUSE gets the musical treatment in Toronto and more!
Stephanie Mieko Cohen, Laura D'Andre, Peter Saide, Oliver Thornton and More to Bring HAIR to Music Circus This Month
To round out its 65th season, Music Circus presents Hair, the groundbreaking musical that defined a generation and introduced rock 'n' roll to Broadway. Set against a backdrop of the Vietnam era, a group of late 1960s youth join a social revolution and 'Let the Sun Shine In.' Featuring hit songs such as 'Aquarius,' 'Let The Sun Shine In' and 'Easy To Be Hard,' Hair is an exhilarating and emotionally intense ride that Variety calls 'a rock musical that communicates viscerally with its audience. The score's vigorousness and variety are remarkable.'
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https://bwcommunityarts.bw.edu/teacher-education/lovetri-institute/lovetri-institute-january-session/
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LoVetri Institute for Somatic Voicework
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2023-05-30T23:03:36+00:00
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Learn more about our January session of the Lovetri Institute for Somatic Voicework™️, geared toward music teachers new and experienced.
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en
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BW Community Arts School
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https://community.bw.edu/cas/departments/teacher-education/lovetri-institute/lovetri-january/
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About the LoVetri Institute for Somatic Voicework™
The LoVetri Institute for Somatic Voicework™ is offered exclusively in partnership with Baldwin Wallace University.
Learn more:
About Somatic Voicework™
About the training levels and programs
About our faculty
Registration is coming soon. Please check back for more information!
LoVetri Institute for Somatic Voicework™
January 2024 Session
The January 2024 session of the LoVetri Institute will be held online only and offer only Level I training. Get started this January and plan to finish your training in our July sessions!
Level I: January 13 - 15, 2024
Deadline to Register: Sunday, January 7, 2024
Daily Schedule
Online sessions will be presented live, online from 11:00 a.m. - 8:00 p.m. EST daily, with some optional office hours available in the morning and evening.
Level I Daily Schedule
Participating from a Different Time Zone
For those with scheduling challenges, or who live in a time zone where completing the institute in real-time will present challenges, there is an option to complete any Level of the Institute in a time-adjusted format.
Those not able to complete the institute in real-time will have 48-hours to review video material from each day, along with special required daily tests to confirm attendance.
Breakout sessions that require “live” participation will be set up with Somatic Voicework™ faculty to review foundational materials in real-time; and for these special participants, multiple times will be offered to facilitate all aspects of the work of the Institute.
There will be a quiz or a test at the end of each Day for all participants to confirm understanding and attendance. Participants watching the recordings and participating in the alternative breakout sessions will have 48 hours to complete their work.
Tuition & Materials
Tuition for online sessions is $350.00/participant plus $25.00 for the required course book.
Course Book
The course book covers Level I and a version (printed after 2008) is required for all participants. The fee for the course book will be automatically added to your registration. When participating online, the book will be shipped to participants, so we recommend registering as early as possible. An electronic, non-downloadable, version of the course book will also be available to all participants on Google Classroom during the course.
Payment Plans
Limited automatic payment installments are available. It is preferred that participants pay via credit or debit card through the online registration; however, checks are accepted. Please contact the BW Community Arts School office by emailing cas@bw.edu, to arrange for this.
Re-Certification
Participants who have completed any Level I - III course and plan to retake it are eligible for a discounted rate of $200.00/participant/level. To obtain the discount code, email cas@bw.edu and indicate which Level(s) you plan to re-certify, and where you took them previously.
Registration Deadlines
Level I: December 30, 2023 to receive your books prior to the course. Late registrants may not receive course materials on time but can access the online version.
Final Registration Deadline: Sunday, January 7, 2024 (late registrants may not receive course materials in time, but can access the online version).
NOTE: International participants should register early to ensure timely book delivery.
Additional Information
Graduate Credits
Graduate level credits are available for degreed music educators teaching in the United States through Baldwin Wallace University School of Education for this course. One credit is available for LoVetri Institute for Somatic Voicework™ Level I with an additional fee of $208.00.
Registration for graduate credit can be added to your regular attendance fees when you register online.
Scholarship Donations
The LoVetri Institute Scholarship offers financial aid to vocalists and artists attending The LoVetri Institute for Somatic Voicework™. Please consider donating to the scholarship fund. When using the link below, be sure to select the Designation as "Other" and then enter "LoVetri Scholarship" in the box (see example shown).
Donate
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https://www.gardnermuseum.org/experience/collection
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Collection
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The Isabella Stewart Gardner Museum is an art museum in Boston, Massachusetts, which houses significant examples of European, Asian, and American art. Its collection includes paintings, sculpture, tapestries, and decorative arts.
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/themes/isgm17/assets/favicons/favicon_192x192.jpg?si67vr
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https://www.gardnermuseum.org/experience/collection
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The digitization of the Gardner's Hidden Collections was made possible in part by the Institute of Museum and Library Services.
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[] |
[] |
[
"Oliver Thornton"
] | null |
[
"IMDb"
] | null |
Oliver Thornton. Visual Effects: Puls. Oliver Thornton is known for Puls (2016), Doctor Strange (2016) and Star Wars - Episode VII: Das Erwachen der Macht (2015).
|
en
|
IMDb
|
https://www.imdb.com/name/nm3816774/
|
The Man with the Iron Fists 2
4.4
Video
visual effects artist
2015
|
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6669
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dbpedia
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https://www.lincolncenter.org/series/lincoln-center-presents/v/calendar
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The world's leading performing arts center. The best in music, dance, opera, theater, cinema, and more.
|
en
|
/assets/images/favicon.ico?v=v15.0.0
|
https://lincolncenter.org/series/lincoln-center-presents
|
Member Pre-sale for the fall 2024 season: September 5
General On-sale: September 10
To access exclusive benefits, explore membership today.
Our goal is to continue exploring new ticketing practices together as a community to make our performances more accessible to more people and to center equity and inclusion in every aspect of our field. The majority of Lincoln Center Presents programs are FREE or Choose-What-You-Pay. Please refer to the dedicated event page of the show you’d like to attend to confirm ticketing options.
Free General Admission Events
Many performances and events, including all programming at the David Rubenstein Atrium, are available for FREE via General Admission—first-come, first-served. Advance reservations are not required for these events; just show up! While we'll do our best to accommodate as many guests as possible, we cannot guarantee admission. Look for the “FREE” label on calendar listings and show pages, or select the “Free” calendar filter to search for a wide range of free programming.
Free Fast Track Option
All Lincoln Center Presents events at the David Rubenstein Atrium offer a Fast Track reservation option, giving priority entry into events. Reservations for Fast Track will open every Monday at noon for that week's events and can be reserved on this page. While event admission is not guaranteed, Fast Track reservation holders will have priority entry over the General Admission line up until 30 minutes before show time. Please check the event's dedicated web page to confirm if Fast Track is available for the performance you'd like to attend.
Choose-What-You-Pay Events
Choose-What-You-Pay tickets to the Lincoln Center Presents fall 2024 season go on sale on September 10 at noon; Member Pre-sale begins September 5 at noon.
With Choose-What-You-Pay ticketing, you decide what's right for you. We offer a suggested ticket price, as well as options to pay more or less. The minimum ticket price is $5.00.
3 Ways to Buy Tickets
There are three ways to purchase Choose-What-You-Pay and full-price tickets.
|
|||
6669
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dbpedia
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1
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https://www.linkedin.com/in/oliverthornton
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en
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Oliver Thornton - Alkemy X
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[
"Oliver Thornton"
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Compositor with years of experience working on feature and television post production. · Experience: Alkemy X · Education: The Art Institutes · Location: Los Angeles · 500+ connections on LinkedIn. View Oliver Thornton’s profile on LinkedIn, a professional community of 1 billion members.
|
en
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https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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https://www.linkedin.com/in/oliverthornton
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LinkedIn and 3rd parties use essential and non-essential cookies to provide, secure, analyze and improve our Services, and to show you relevant ads (including professional and job ads) on and off LinkedIn. Learn more in our Cookie Policy.
Select Accept to consent or Reject to decline non-essential cookies for this use. You can update your choices at any time in your settings.
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6669
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dbpedia
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https://www.lincolncenter.org/series/lincoln-center-presents/v/calendar
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[
""
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The world's leading performing arts center. The best in music, dance, opera, theater, cinema, and more.
|
en
|
/assets/images/favicon.ico?v=v15.0.0
|
https://lincolncenter.org/series/lincoln-center-presents
|
Member Pre-sale for the fall 2024 season: September 5
General On-sale: September 10
To access exclusive benefits, explore membership today.
Our goal is to continue exploring new ticketing practices together as a community to make our performances more accessible to more people and to center equity and inclusion in every aspect of our field. The majority of Lincoln Center Presents programs are FREE or Choose-What-You-Pay. Please refer to the dedicated event page of the show you’d like to attend to confirm ticketing options.
Free General Admission Events
Many performances and events, including all programming at the David Rubenstein Atrium, are available for FREE via General Admission—first-come, first-served. Advance reservations are not required for these events; just show up! While we'll do our best to accommodate as many guests as possible, we cannot guarantee admission. Look for the “FREE” label on calendar listings and show pages, or select the “Free” calendar filter to search for a wide range of free programming.
Free Fast Track Option
All Lincoln Center Presents events at the David Rubenstein Atrium offer a Fast Track reservation option, giving priority entry into events. Reservations for Fast Track will open every Monday at noon for that week's events and can be reserved on this page. While event admission is not guaranteed, Fast Track reservation holders will have priority entry over the General Admission line up until 30 minutes before show time. Please check the event's dedicated web page to confirm if Fast Track is available for the performance you'd like to attend.
Choose-What-You-Pay Events
Choose-What-You-Pay tickets to the Lincoln Center Presents fall 2024 season go on sale on September 10 at noon; Member Pre-sale begins September 5 at noon.
With Choose-What-You-Pay ticketing, you decide what's right for you. We offer a suggested ticket price, as well as options to pay more or less. The minimum ticket price is $5.00.
3 Ways to Buy Tickets
There are three ways to purchase Choose-What-You-Pay and full-price tickets.
|
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6669
|
dbpedia
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https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/descriptions-and-essays/
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A full list of all Registry-named recordings with descriptions noting their aesthetic, historic or cultural significance. For many recordings, nationally-known scholars have kindly contributed short essays describing further the work's importance, and are available as indicated.
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The Library of Congress
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Note: This is a national list and many of the items listed are housed in collections across the country. The Library of Congress does not currently hold copies of all the recordings listed.
Recordings are listed in chronological order:
Phonautograms. Edouard-Leon Scott de Martinville. (c. 1853-1861)
In late 1853 or early 1854, Edouard-Leon Scott de Martinville captured the first recorded sounds by etching onto blackened glass plates the movements of a boar's-bristle stylus, vibrating in sympathy with a guitar and a human voice. Later, Scott made recordings on paper wrapped around a drum. The resulting "phonautograms" proved crucial to the development of recorded sound. Scott was interested solely in the visible tracings of sound waves in order to study acoustics and did not record with the intention of playing back or listening to his recordings. Nevertheless, in 2008, researchers from the First Sounds group, using contemporary audio technology (developed with the support of several institutions, including the Library of Congress and the National Recording Preservation Board) were able to play back Scott's recordings for the very first time. Selected for the 2010 registry.
Learn more (PDF, 92KB)
Listen External
Radio Feature (MP3)
Edison's "St. Louis tinfoil" recording (1878)
It is quite possibly a record of the oldest playable recording of an American voice. It is a survivor—the earliest extant document that captures a musical performance. The recording is on a piece of tinfoil. It lasts 78 seconds and was made on a phonograph in St. Louis, Missouri, on June 22, 1878, just months after Thomas Edison invented his magic recording machine. For years the foil endured and went, not surprisingly, unplayed. Then, in the summer of 2013, the Museum of Science and Innovation (a.k.a. miSci) in Schenectady, New York, announced that physicists at the Lawrence Berkeley National Laboratory had recovered the sound from this slip of shiny silver. The result was a surprisingly listenable musical and vocal interlude. Selected for the 2020 registry.
Learn more (PDF, 386KB)
Listen (MP3)
Edison Talking doll cylinder. (1888)
Few, if any, sound recordings can lay claim to as many "firsts" as the small, mangled artifact of a failed business venture discovered in 1967 in the desk of an assistant to Thomas Edison. This cylinder recording, only 5/8-inches wide, represents the foundjohations of many aspects of recording history. It was created in 1888 by a short-lived Edison company established to make talking dolls for children, and it is the only surviving example from the experimental stage of the Edison dolls production when the cylinders were made of tin. As such, this recording of "Twinkle, Twinkle Little Star," as sung by an anonymous Edison employee, is the earliest known commercial sound recording in existence. It is also the first children's recording and, quite possibly, the first recording to be made by someone who was paid to perform for a sound recording. Due to its poor condition, the recording was considered unplayable until 2011 when its surface was scanned in three dimensions using digital mapping tools created at the Lawrence Berkeley National Laboratory and developed in collaboration with the Library of Congress. Selected for the 2011 registry.
Learn more (PDF, 64KB)
Listen (MP3)
The 1888 London cylinder recordings of Col. George Gouraud. (1888)
Thomas Edison debuted his "perfected" wax-cylinder phonograph in the summer of 1888, rendering obsolete his 1877 tinfoil model and preventing a coup against his "favorite invention" by Bell and Tainter's insurgent Graphophone. The first phonograph to leave Edison's factory was sent to his friend and agent, Civil War hero Col. George Gouraud, an American living in London, who had a knack for promoting and marketing new technologies. In the second half of 1888, Gouraud marketed the machine by hosting recording demonstrations with celebrity guests and, perhaps accidentally, preserved for posterity the voices of prominent poets, scientists, musicians and politicians, including future Prime Minister William Ewart Gladstone and Sir Arthur Sullivan of Gilbert & Sullivan. The first of these recordings was the Handel Festival at the Crystal Palace. Hugh DeCoursey Hamilton, who worked for Gouraud and Edison, captured a 4,000-voice chorus performing "Israel in Egypt" from the press balcony 100 yards away. Gouraud also recorded his friends, family and business partners. Selected for the 2016 registry.
Learn more (PDF, 64KB)
Listen (MP3)
Edison exhibition recordings (group of three cylinders): "Around the World on the Phonograph"; "The Pattison Waltz"; and "Fifth Regiment March." (1888-1889)
A trio of cylinders selected by Edison contemporaries to represent the birth of commercial sound recording--as an industry, as a practical technology, and as a means to preserve music and spoken word. Selected for the 2002 registry.
Learn more (PDF, 185KB)
Listen—"Pattison Waltz" (MP3)
Jesse Walter Fewkes field recordings of the Passamaquoddy Indians. (1890)
Fewkes' cylinder recordings, 30 in total and made in Calais, Maine, are considered to be the first ethnographic recordings made produced "in the field," as well as the first recordings of Native American music. The cylinders are held by the American Folklife Center at the Library of Congress. Selected for the 2002 registry.
Learn more (PDF, 381KB)
And more
Listen—"Snake Dance Song" (MP3)
"The Lord's Prayer" and "Twinkle Twinkle Little Star." Emile Berliner recordings. (c. 1890)
Emile Berliner, the inventor of the microphone and founder of the first disc record company, lived and worked in Washington, D.C. A contemporary of Thomas Edison, Berliner believed that the wax cylinder developed by Edison and his partners was too soft and fragile for making a permanent recording. Hence, he developed the first process for mass-production of disc recordings. These are two of his early recordings. Selected for the 2003 registry.
Learn more (PDF, 77KB)
Listen—"Twinkle Twinkle Little Star" (MP3)
Vernacular Wax Cylinder Recordings at UC Santa Barbara Library (c. 1890-1920)
Offering a rare and revealing glimpse into the lives of regular people, the Vernacular Wax Cylinder Recordings consists of 600 homemade cylinder recordings made primarily during the 1890s, 1900s, and 1910s. The core of the collection is based on several decades of purposeful acquisition by anthropologist Donald R. Hill and sound historian David Giovannoni. From its commercial introduction in the 1890s through its demise in the 1920s, the cylinder phonograph allowed its owners to make sound recordings at home. These UCSB audio "snapshots" of everyday life are perhaps the most authentic audio documents of the period: songs sung by children, instrumentals, jokes, and ad-libbed narratives. The vast majority of vernacular wax recordings remain in private hands or uncatalogued in institutions. UCSB's extensive collection serves as a beacon for the recognition and assertive preservation of these highly endangered audio treasures. Selected for the 2014 registry.
Learn more (PDF, 804KB)
Listen (MP3)
The Benjamin Ives Gilman Collection Recorded at the 1893 World's Columbian Exposition at Chicago (1893)
Benjamin Ives Gilman, Harvard psychologist, and, later, curator for the Boston Museum of Fine Arts, made 101 wax cylinder recordings at the 1893 Chicago World's Fair. These recordings contain Fijian, Samoan, Uvean, Javanese, Turkish, Kwakiutl or Vancouver Island Indian songs and ceremonies along with recordings of other Middle Eastern, South Seas and Native American musicians and singers who performed in specially constructed "villages" along the midway. In addition to being the first recordings ever made at any World's Fair, these are also the earliest known recordings of many non-western musical styles, such as the Javanese Gamelan. Selected for the 2014 registry.
Listen (MP3)
"The Laughing Song." George Washington Johnson. (c. 1896)
George W. Johnson was the first African American to make commercial records; he began in 1890. Born near Wheatland, Virginia, Johnson made his living as a street singer during the 1870s, busking in New York City. "The Laughing Song" was Johnson's most famous and long-lived number. This familiar sounding and uncomplicated tune was sung by Johnson in a down-home, gruff baritone and completed with his infectious laughter, all remarkably free of the caricature and forced dialect that marked most African American-themed material of the period. "Laughing Song" was tremendously successful, with versions released in the US and Europe. With its ragtime-imbued accompaniment, its stature is inestimable: here is perhaps the most popular recording of the 1890s, and probably the first "hit" sung by an African American. Selected for the 2013 registry.
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"Stars and Stripes Forever." Military Band. (1897)
The first recording of America's favorite march. "The Stars and Stripes Forever," John Philip Sousa's most famous composition, was recorded by the company of the inventor of the 78-rpm gramophone disc, Emile Berliner, for his company Berliner Gramophone. Selected for the 2002 registry.
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Listen (MP3)
"Gypsy Love Song." Eugene Cowles. (1898)
Victor Herbert's 1898 operetta, "The Fortune Teller," was the composer's first popular success for the stage. The Berliner Gramophone Company captured bass Eugene Cowles' performance of one of the operetta's hits, "Gypsy Love Song," on what was one of the very first "original cast recordings." Selected for the 2004 registry.
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"Honolulu Cake Walk." Vess Ossman. (c. 1900)
During the era of ragtime music's greatest popularity -- the late 19th and early 20th centuries -- the syncopated music was typically recorded by bands, orchestras, or small ensembles, or accordion, xylophone, or banjo soloists. Vess Ossman, called "The Banjo King," was the one of the most prolific recording artists of that time. His "Honolulu Cake Walk" is a prime example of recorded ragtime banjo. Selected for the 2003 registry.
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Listen (MP3)
Ragtime compositions on piano rolls. Scott Joplin. (1900s)
Scott Joplin is today regarded as the pre-eminent composer of ragtime compositions. Joplin himself performed some of these "rags" for piano roll sales. These rolls represent the way these compositions were originally listened to and enjoyed--on home player pianos. They are outstanding examples of a less-familiar, now nearly-obsolete sound recording format. This selection consists of the titles "Maple Leaf Rag," "Magnetic Rag," "Weeping Willow Rag," "Something Doing," "Pleasant Moments," and "Ole Miss Rag." Selected for the 2002 registry.
Learn more (PDF, 48KB)
Listen—"Maple Leaf Rag" (MP3)
Lionel Mapleson cylinder recordings of the Metropolitan Opera. (1900-1903)
In the early 1900s, Lionel Mapleson set up a phonograph in the New York City Metropolitan Opera House to record excerpts of live performances there. These cylinders preserve a special window on the spontaneous artistry of this era and are the only known extant recordings of some performers, including Jean de Reszke. Selected for the 2002 registry.
Learn more (PDF, 60KB)
Listen—"La Fille du Regiments: Rataplan" (MP3)
Bert Williams and George Walker. Victor Releases. (1901)
This vaudeville and musical theater duo, among America's first African-American recording artists, recorded many sides for the Victor Talking Machine Company in 1901. But as effective as the comic duo were on record, George Walker disliked recording and made only one other disc. Bert Williams, however, had a very successful recording career, which included two versions of his signature song, "Nobody," before his death in 1922. The Victor discs are quite rare. Two of them, "The Fortune Telling Man " (Victor 1083) and "The Ghost of a Coon" (Victor 998), are missing from any known collection. Selected for the 2003 registry.
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Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company. (c. 1901-1905)
These cylinders originally produced by the Standard Phonograph Company of New York are believed to be the earliest recordings of Yiddish songs. Eventually released by the Thomas Lambert Company of Chicago, these releases (some manufactured in unusually vibrant colors) also represent the first releases by an ethnically-owned and ethnically-focused record company, a risky venture at a time when a US-based audience for foreign-language music had yet to be established. These surviving 20 cylinders of 48 once produced, provide an insight not only into the Yiddish-speaking community of the era but also into the difficult assimilation of Jewish immigrants arriving to America at the turn of the century. In 2016, the Archeophone label lovingly restored and packed the cylinder into a CD-set. Selected for the 2018 registry.
Learn more (PDF, 201KB)
Listen—"Dos Biselle Mashke" (MP3)
"Canzone del Porter" from "Martha." Edouard de Reszke. (1903)
Representative of the Columbia Grand Opera Series. Columbia Records' 1903 "celebrity" series of discs featured seven Metropolitan Opera stars who were considered some of the most significant singers of the period. Perhaps of greatest historical significance within the Series are the three recordings made by bass Edouard de Reszke. They are his only known published recordings, made when he was approaching the end of his performing career. Other performers included in the Series are Giuseppe Campanari, baritone; Marcella Sembrich, soprano; Suzanne Adams, soprano; Ernestine Schumann-Heink, contralto; Antonio Scotti, baritone; and Charles Gilbert, baritone. Selected for the 2005 registry.
Learn more (PDF, 167KB)
Listen (MP3)
"Uncle Josh and the Insurance Company." Cal Stewart. (1904)
Cal Stewart was among the most prolific and popular recording artists of the first 20 years of commercial recording. His "Uncle Josh" monologues offer humorous commentary on American life at the turn of the 20th century. His "rural comedy" describes life in the imaginary New England village of Pumpkin Center, painting humorous pictures of Uncle Josh's encounters with new technologies as well as pointing out the comic contrasts between agrarian and urban life in America. Stewart's influence can be heard in the comedy of Will Rogers, in Fred Allen's character, Titus Moody, and in Garrison Keillor's stories about Lake Wobegon. "Uncle Josh and the Insurance Company" is especially notable as the first recording of the humorous folk tale and urban legend "Barrel of Bricks." Selected for the 2006 registry.
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"Casey at the Bat." DeWolf Hopper. (1906)
This extraordinarily popular comic baseball recitation (poem) is read by the vaudevillian, DeWolf Hopper. Hopper reportedly recited this poem over 10,000 times in performance. Selected for the 2002 registry.
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"You're a Grand Old Rag [Flag]." Billy Murray. (1906)
Billy Murray was one of the most popular recording artists in the U.S. in the acoustic recording era. His distinct tenor voice was featured on hundreds of records issued by Victor, Columbia, Edison, and other labels. Some of Murray's best-loved and most popular recordings were of George M. Cohan's songs. "You're a Grand Old Rag" was the original title of this recording and Cohan's song "You're a Grand Old Flag." Despite the song's clear patriotic message, "rag" was considered by many to be an undignified and inappropriate way to refer to the American flag. Selected for the 2003 registry.
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"Vesti la giubba." Enrico Caruso. (1907)
Tenor Enrico Caruso was probably the most popular recording artist of his time. His recording of this signature aria from Pagliacci by Leoncavallo was a bestseller. Selected for the 2002 registry.
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"The Very First Mariachi Recordings." Cuarteto Coculense. (1908-1909) (album)
Mariachi music and its imagery are now emblematic of Mexican national identity, but it was once a rural style of music played mainly in the state of Jalisco. In 1908, four musicians from the town of Cocula, Jalisco, led by the vihuela player Justo Villa, made the very first recordings of it in Mexico City, where two years earlier they had introduced the style to the capital when they performed for the Mexican president Porfirio Diaz. These performances lack the trumpet now inextricably associated with mariachi, but even the early recording technology of the time could not fail to capture the group’s drive and spirit, and the recordings remained in print for many years. Thanks to the efforts of scholars and record collectors, the group’s work was collected and reissued in 1998 by Arhoolie Records, revisiting and reviving an otherwise lost chapter in mariachi’s history and paying overdue homage to these recording pioneers. Selected for the 2023 registry.
Learn more (PDF, 192KB)
Listen - "The Parakeet" (MP3)
Frances Densmore Chippewa/Ojibwe Cylinder Collection. (1907-1910)
Frances Densmore's Chippewa recordings, a three-hundred cylinder sub-set of the ethnomusicologist's thirty-year collecting effort, are some of the earliest recordings she made. Her collections, housed at the Library of Congress, document Native American traditions and performances, many of which have since been lost even within their native communities. Selected for the 2003 registry.
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Booker T. Washington's 1895 Atlanta Exposition Speech. (1908 recreation)
In 1906, Booker T. Washington recreated his controversial 1895 Atlanta Exposition speech in which he promotes inter-racial cooperation as well as African-American self-reliance. This address drew criticism from other black leaders who interpreted it as giving in to segregation. Selected for the 2002 registry.
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Listen (MP3)
"No News, or What Killed the Dog." Nat M. Wills. (1908)
This recording captured a gifted monologist at his best and became one of the most popular performances on early records. The "No News" monologue, with its roots in oral tradition, was one of vaudeville's most famous and often-copied routines. The monologue unfolds as a piecemeal report by a servant to his master who recently returned from a trip, assuring him that there is nothing new to report from home, except that his dog has died. Nat M. Wills displays masterful comic timing as he slowly reveals, in a escalating hierarchy of domestic disasters, the events that led up to the dog's demise. Selected for the 2008 registry.
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"Take Me Out to the Ball Game." Edward Meeker. (1908)
This popular song has become an unofficial national anthem of America's national pastime. It was composed in 1908 and was recorded by all three of the major U.S. record companies, Victor, Columbia and Edison. Few copies of these recordings are now extant, which may indicate that initially the song was not as popular as it was to become later. Comic vocalist Edward Meeker, whose duties for Edison included announcing the titles and artists on hundreds of cylinders, sings on this Edison recording. Meeker delivers the song in his stentorian, but good-natured baritone, including both verses, which remind us that the song is about a baseball-loving woman. Selected for the 2010 registry.
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"Swing Low, Sweet Chariot." The Fisk Jubilee Singers. (1909)
The Fisk Jubilee Singers helped establish the black spiritual in the history of American music. They were also the first to introduce these songs to white audiences through concert tours and recordings. "Swing Low" is their first commercial recording. Selected for the 2002 registry.
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"Some of These Days." Sophie Tucker. (1911)
Vaudeville singer and comedienne Sophie Tucker first recorded her signature song for the Edison company on cylinder. It was the beginning of a recording career that extended nearly 50 years. This Sheldon Brooks song was an ideal vehicle for the earthy star known as "the Last of the Red-Hot Mamas." Selected for the 2004 registry.
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"Dream Melody Intermezzo: Naughty Marietta" (single). Victor Herbert and His Orchestra. (1911)
Victor Herbert's "Dream Melody Intermezzo" is one of several iterations of the immortal song "Ah, Sweet Mystery of Life" heard throughout Herbert's most successful operetta, "Naughty Marietta." This recording is the intermezzo version of "Sweet Mystery," which is heard near the beginning of Act II as a transitional piece during which time the locale moves from the marionette theatre to the Juenesse Doree Club's ballroom. As "Ah, Sweet Mystery of Life," the work has lived on as a free-standing song, heard to both dramatic and comic effect. In this 1911 Edison cylinder recording, listeners are transported back to the fall of 1910. The arrangement calls for a sprightly, annunciatory introduction by brass and pizzicato strings. The new cylinder recording process made it possible to capture nuances of the orchestra not possible with disc recording technology of the time. Selected for the 2017 registry.
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"Let Me Call You Sweetheart." Columbia Quartette (The Peerless Quartet). (1911)
The Columbia Quartette was, in reality, the Peerless Quartet, led by tenor Henry Burr. Burr's distinctive forward-sounding, nasal voice gave the Peerless a unique and easily identifiable tone. The blend and balance of the harmonized quartet is rich and satisfying, providing us with an authentic taste of the music of the 1910s. "Let Me Call You Sweetheart," a product of Tin Pan Alley, composed and written by Leo Friedman and Beth Slater Whitson, has an uncomplicated rhyming scheme and predictable melodic contour, making it a song that has endured for more than a century with its unabashed, expression of love. Selected for the 2015 registry.
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Listen (MP3)
Cylinder recordings of Ishi. (1911-1914)
Recorded on 148 wax cylinders between September 1911 and April 1914, this is the largest collection of the extinct Yahi language. Ishi, the last surviving member of the Northern California Yahi tribe and the last speaker of its language, sings traditional Yahi songs and tells stories, including the story of "Wood Duck" recorded on 51 cylinders. The complete recordings, totaling 5 hours and 41 minutes, were made by anthropologists Alfred Kroeber and T.T. Waterman during Ishi's five-year residency at the University of California Museum of Anthropology in San Francisco (now the Phoebe A. Hearst Museum of Anthropology, UC Berkeley). The cylinders are held at the Hearst Museum in Berkeley. Selected for the 2010 registry.
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"Come Down Ma Evenin' Star." Lillian Russell. (1912)
"Come Down Ma Evenin' Star" is the only surviving recording of Lillian Russell, one of the greatest stars the American musical stage has ever known, a versatile performer at home in operetta, burlesque and vaudeville whose personal life often generated as much publicity as her performances. Born in 1861, she was a star before movies and recordings, which in their early days could not do justice to her famous beauty, voice, style and stage presence. "Come Down" was her signature song. She introduced it in the 1902 burlesque review "Twirly-Wirly," parodying the nouveau-riche society figure she had become, but investing it with a poignancy that reflected its troubled history. The song was written by her former music director John Stromberg, who committed suicide over the pain of chronic, untreatable rheumatism hours after finishing it. Russell recorded it in 1912, but it was not released. In 1943, rare record dealer Jack L. Caidin found a lone test pressing of it, inscribed by Russell herself, and released it on his own specialty label, providing us with a brief echo of the Lillian Russell phenomenon, and a fleeting glimpse into nineteenth century American theater. Selected for the 2011 registry.
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Lovey's Trinidad String Band. (1912)
These Trinidadian instrumental musicians were recorded for Columbia Records in New York City during a tour in 1912. Lovey's String Band exemplifies a pre-jazz "hot" style common in the Caribbean at the time. Selected for the 2002 registry.
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Listen—"Manuelita" (MP3)
"Fon der Choope (From the Wedding)." Abe Elenkrig's Yidishe Orchestra. (April 4, 1913)
Barber and trumpeter Abraham Elenkrig recorded this lively number for Columbia Records in the spring of 1913 and the ten songs were among the first klezmer recordings made in America. While chiefly colored by Romanian musical influences, the cornet and trombone on "Fon der Choope" lend it a brassy sound typical of John Phillip Sousa, Arthur Pryor and other popular military bands of the time. It was a sound characteristic of early klezmer recordings in the United States. Selected for the 2009 registry.
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And more (PDF, 60KB)
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"The Castles in Europe One-Step (Castle House Rag)." Europe's Society Orchestra. (1914)
James Reese Europe was the first black bandleader to record in the United States and was the personal conductor for the immensely popular 1910s dance team, Irene and Vernon Castle. Europe's recordings were important stepping stones in the development of jazz. They exhibit a frenetic quality with more looseness and greater syncopation than is heard in any other dance bands of the era. Selected for the 2004 registry.
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"Memphis Blues" (single). Victor Military Band. (1914)
Though he would eventually be acclaimed as "The Father of the Blues," W.C. Handy was only a moderately successful bandleader in 1912 when he published "The Memphis Blues" in sheet music form. It caught on quickly and was soon being performed by bands around the country, introducing Handy's style of 12-bar blues to a wide audience. With the help of bandleader James Reese Europe, the dancers Vernon and Irene Castle used it to promote their version of the emerging popular dance the foxtrot, but no recording of it was made until July 15, 1914, when the Victor Military Band cut their hit version, helping to pave the way for the jazz and blues crazes that would sweep the country within a few years. "Memphis Blues" was soon standard repertoire and was re-recorded as late as 1942 by swing era bandleader Harry James. Selected for the 2018 registry.
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"They Didn't Believe Me." Harry Macdonough and Alice Green. (1915)
Elegant, charming and unexpected, Jerome Kern's "They Didn't Believe Me" was a late arrival—or interpolation—into the musical "The Girl from Utah." Its appearance marked a turning point in American theater music and popular song. Its melody has been described as "natural as walking," free from the formal-sounding, stilted phrases and form that typified most show music of the period. The song quickly became an enormous hit and greatly accelerated Kern's career. This recording by Macdonough and Green (nee Olive Kline) is the first known recording of the song and represents well its forward-looking informality. Although the song" is in standard eight-measure phrases, the melody and words (by Herbert Reynolds) fall into delightful anacrusis, and the singers create a relaxed, free-flowing effect. Selected for the 2013 registry.
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"Il mio tesoro" from "Don Giovanni." John McCormack; orchestra conducted by Walter Rogers. (1916)
Tenor John McCormack's recording of "Il mio tesoro" from "Don Giovanni" is considered a model of Mozart performance. His rich voice, seamless phrasing and superb technical skill contribute to making this reading the standard by which other performances of this aria have been measured. Selected for the 2006 registry.
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The Bubble Book (the first Bubble Book). (1917)
The Bubble Books, published by Harper Columbia between 1917 and 1922, were the first series of books and records published together especially for children. Authors were Ralph Mayhew and Burges Johnson, while Rhoda Chase provided the beautiful, full-color line drawings. Each book contained three 5 1/2-inch discs to accompany the three nursery rhymes printed in the books. The singer is not listed on the discs but is thought to be Henry Burr. Millions of the books were sold to delighted children in the U.S. and abroad. Selected for the 2003 registry.
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"Listen to the Lambs." The Hampton Quartette. (1917)
Representative of the Hampton Quartet Collection at Hampton University. Natalie Burlin, a pioneer in the study of American minority cultures, was one of the leading collectors and transcribers of indigenous music of Africa and the United States. Beginning around 1903, she worked to document and preserve Native American culture and, in 1910, extended her work to studies of African-American and African culture. Burlin published four volumes of transcriptions taken from performances by students at Virginia's Hampton Normal and Agricultural Institute in 1918-1919. Recordings by the Hampton Quartette made on wax cylinders during the 1880s, including this recording of "Listen to the Lambs," were probably the basis of some of her published transcriptions. Selected for the 2005 registry.
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"Nikolina" (single). Hjalmar Peterson. (1917)
In "Nikolina," a young Swedish man tells of his comical difficulties with the father of the girl he is courting. The song was brought to America by Hjalmar Peterson (1886-1960), who settled in Minnesota and became a hugely popular entertainer among Swedish-Americans. He recorded "Nikolina" three times in the 'teens and 20s, in the process, selling more than 100,000 copies. In 1936, Ted Johnson, a former member of Peterson's troupe, re-recorded it with traditional instruments and it became a hit again, the first of many successful revivals. Selected for the 2020 registry.
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"Over There." Nora Bayes. (1917)
Inextricably associated in popular imagination with World War I, Nora Bayes' recording introduced George M. Cohan's song and became an international hit. Cohan had specifically requested that Bayes be the first singer to record his composition. A former member of the Ziegfeld Follies and an extremely popular vaudevillian and a Broadway star, she recorded a number of other songs to boost morale during the war and performed extensively for the troops. Selected for the 2005 registry.
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Acoustic Recordings for Victor Records. Jascha Heifetz. (1917-1924)
Sixteen-year-old Jascha Heifetz made his debut at Carnegie Hall in October 1917. He was immediately hailed as one of the greatest violinists of the time, praised for his immaculate technique and exceptional tonal beauty. Soon after his debut, Heifetz started recording for the Victor Talking Machine Company. He would maintain a relationship with Victor, and later RCA Victor, over the course of his career. These acoustic recordings, made between 1917 and 1924, were mostly light recital pieces with piano accompaniment. The Victor Records brochure promoting his first four recordings touted "his phenomenal technique, complete mastery of bow and control of finger" and proclaimed his performances "as Mozart might have played." Selected for the 2008 registry.
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Listen - Full list of recordings
"After You've Gone." Marion Harris. (1918)
In one of the first recorded versions of this American standard, cabaret star Marion Harris, in a profound departure from then-current singing styles, sang in a relaxed, loose-limbed, near swinging style. Her performance matched perfectly the lyric of this unsentimental love song by Turner Layton and Harry Creamer, and also its sleek, blues-inflected melody and harmony. Layton and Creamer were part of a small group of African American songwriters to write for Broadway revues during the 1910s. This recording of "After You've Gone" led the transition in American popular singing from a full-throated, relatively stilted style, to a manner more relaxed, subtle and evocative. Selected for the 2012 registry.
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"Tiger Rag." The Original Dixieland Jazz Band. (1918)
The Original Dixieland Jazz Band was the first jazz band to make a commercial recording. This all-white New Orleans-style group from Chicago featured cornetist Nick LaRocca. While not the best ensemble of its day, the first recordings of the Original Dixieland Jazz Band initiated a craze for a new art form--jazz. Selected for the 2002 registry.
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“Clarinet Marmalade.” Lieut. Jim Europe’s 369th US Inf. (Hell Fighters) Band (James Reese Europe). (1919) (single)
Having served in France during WWI, the all-Black 369th Infantry, known as “The Hellfighters,” returned to New York triumphantly on February 17, 1919. Their band, led by composer and orchestra leader James Reese Europe, also made an enormous impression, and received a hero’s welcome home. Shortly before beginning a national tour, the band began making a series of recordings for the American Pathé label. “Clarinet Marmalade” was a work composed by clarinetist Larry Shields and pianist Henry Ragas. It was recorded by Europe’s ensemble in 1919, and though their instrumentation was that of a standard military band, their delivery had a verve and abandon unheard of from such a group. “Clarinet Marmalade” was one of 24 titles released by Europe’s ensemble which helped introduce a new Black American music to a welcoming public. Selected for the 2024 registry.
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"Crazy Blues." Mamie Smith. (1920)
With her recording of "Crazy Blues," Mamie Smith became the first black vocalist to make a commercial vaudeville blues record. The recording was a surprise hit, reputedly selling more than 250,000 copies. It revealed to record companies a previously neglected market for records--African-Americans. Subsequently, thousands of recordings were made of black jazz and blues artists, invigorating the record business and enabling the documentation and preservation of one of the richest eras of musical creativity in the United States. Selected for the 2005 registry.
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"Swanee." Al Jolson. (1920)
George Gershwin and Irving Caesar's song "Swanee" was interpolated into the show "Sinbad" for Al Jolson. The song became Gershwin's first hit and remained associated with Jolson throughout his career. This recording captures the energy of Gershwin's work and Jolson's unique ability to "put over" a song with exuberance. Selected for the 2004 registry.
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"Whispering" (single). Paul Whiteman and his Orchestra. (1920)
Paul Whiteman's blockbuster hit "Whispering" was the first in a long series of popular recordings that sharply defined a new style and direction in instrumental dance music one — that would have long-lasting effects. Although rather quaint to modern ears, "Whispering" was at the pinnacle of up-to-date dance music and directly led to the Big Band Era. Among its attributes were bold, clean lines with the melody clearly in front. Gone was the old fashioned-ness of the lead being handed off to different voices mid-chorus. Also, harmonic and rhythmic support was pared down to a sleek, tasteful profile, one that encouraged the smart-looking updated fox-trot of 1920. With his pianist-arranger, Ferde Grofe, and ace trumpet man Henry Busse, Whiteman would both codify a type of jazz and be popularly considered its king. Selected for the 2019 registry.
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Guy B. Johnson cylinder recordings of African-American music. (1920s)
These cylinders comprise some of the earliest field recordings of African-American music. They were recorded on St. Helena Island, South Carolina, in the 1920s. They are held primarily at the Southern Folklife Collection of the University of North Carolina, Chapel Hill, with smaller numbers in the collections of the Library of Congress Archive of Folk Culture and the Indiana University Archives of Traditional Music. Selected for the 2003 registry.
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"Cross of Gold." Speech by William Jennings Bryan. (1921)
William Jennings Bryan's "Cross of Gold" speech is one of the best-known political addresses in American history. The speech was originally delivered at the 1896 Democratic convention. In it, the "Great Commoner," as the populist candidate was called, advocated the replacement of the gold standard by silver. The speech is said to have won Bryan the Democratic nomination for President. Bryan recorded excerpts of the speech for Gennett Records twenty-five years after the 1896 convention. Selected for the 2003 registry.
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"Harlem Strut" (single). James P. Johnson. (1921)
James P. Johnson (1894-1955), a native of New Brunswick, New Jersey, was one of the creators of the jazz piano style known as "Harlem Stride," which fused elements of ragtime with an active left hand that provided a bass characterized by wide leaps, or "strides." "Harlem Strut," a multi-strain work and a Johnson original, was his first recorded selection, although he did cut piano rolls prior. This recording, along with Eubie Blake’s "Sounds of Africa," lays claim to being the first recordings of Harlem Stride piano. Today, James P. Johnson is best remembered as the composer of "The Charleston," and as the mentor of pianist and composer Thomas "Fats" Waller. Selected for the 2022 registry.
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"My Man" and "Second Hand Rose." Fanny Brice. (1921)
Performed by Fanny Brice in the "Ziegfeld Follies of 1921," "My Man" and "Second Hand Rose" were recorded by her for Victor Records the same year and issued together on a double-faced 78-rpm disc. Known for her comedic songs in Yiddish and other dialects, Brice was in the midst of marital woes when she recorded "My Man." Audiences, connecting strongly with her passionate performance, concluded she was singing about herself. "Second Hand Rose" was a follow-up to a previous hit song, "Rose of Washington Square," and was a rare instance of the sequel exceding its predecessor. Selected for the 2005 registry.
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"Arkansaw Traveler" and "Sallie Gooden." Eck Robertson. (1922)
Eck Robertson, master old-time fiddler, is recognized as the first performer to make country music recordings. This Victor disc features Robertson as a soloist on "Sallie Gooden" and, in a duet with fiddler Henry Gilliland, performing "Arkansaw Traveler" on the flip side. Selected for the 2002 registry.
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"The Boys of the Lough/The Humours of Ennistymon" (single). Michael Coleman (1922)
Irish fiddler Michael Coleman (1891-1945) left his native county of Sligo for New York City in 1914, never to return home. Though there was a large Irish and Irish-American audience there, a somewhat homogenized version of Irish music incorporating various influences had taken hold, and even a rural, traditional fiddler of Coleman's singular caliber must have seemed well behind the times. Nevertheless, Coleman achieved unprecedented commercial success and a long-lasting impact on both sides of the Atlantic. He remains a vital figure in Irish music to this day. His brisk, highly ornamented playing set new standards and brought traditional music a level of respect it had never had even in Ireland. This coupling of two older tunes that he made distinctively his own was not his first commercial disc, but proved to be his breakthrough. Selected for the 2014 registry.
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"OKeh Laughing Record." (1922)
This odd OKeh record label recording of a bad cornet solo interspersed by a laughing woman and man was one of the most popular discs of the 1920s. The laughing was infectious to listeners, so much so that the disc was re-recorded several times and inspired imitations by other record companies. Selected for the 2003 registry.
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"Ory's Creole Trombone." Kid Ory. (June 1922)
This ensemble of trombonist Kid Ory, originally called "Spikes' Seven Pods of Pepper," was the first recording ever issued of a black jazz band from New Orleans. It was recorded by Andrae Nordskog for his Santa Monica, California-based Nordskog record label. Later under confusing circumstances, the record was issued on the Sunshine label belonging to Los Angeles music promoters the Spikes Brothers. Selected for the 2005 registry.
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"St. Louis Blues" (single). Handy’s Memphis Blues Band. (1922)
Even during his lifetime, W.C. Handy was often called the “Father of the Blues.” And while he might not be responsible for an entire genre of music, there is little question that it was largely Handy’s creative output that ennobled the blues to cross America’s race and cultural lines. One of the songs he did it with was “St. Louis Blues,” which Handy both wrote and played. It was one of the first blues songs to enjoy success as a pop song. Later, the tune would be incorporated into the repertoire of numerous other legends including Bessie Smith, Bing Crosby, Glenn Miller, Count Basie and Benny Goodman. Meanwhile, Handy, beyond his own composition and performing prowess, created detailed, written exegeses of blues music (including his own compositions) which have long served to educate others about the artistry of blues and aid in their appreciation for this American artform. Selected for the 2023 registry.
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"Down Hearted Blues." Bessie Smith. (1923)
"Down Hearted Blues" is the best-selling and most enduring first release by the "Empress of the Blues." Bessie Smith first recorded in 1923, launching a blues career that would have no parallel during the classic blues era. She recorded more than 150 songs over her 14-year recording career. Selected for the 2002 registry.
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"Lift Every Voice and Sing." Manhattan Harmony Four. (1923); Melba Moore and Friends. (1990)
With text written by James Weldon Johnson in 1900 and set to music by his brother John Rosamond Johnson, the hymn "Lift Every Voice and Sing" has served as the "Black National Anthem" since its adoption by the NAACP in 1919. As with "The Star-Spangled Banner," no single recording captures the hymn's essence or its overall meaning to Americans. Therefore, the registry recognizes two recordings: the 1923 version by the Manhattan Harmony Four, one of the last discs issued by the short-lived Black Swan Company—a pioneering African-American-owned record label based in Harlem—and a modernized 1990 version headed by Melba Moore. Moore sought to restore the standing of the song among young African-Americans. Among the many participants in her latter, all-star recording were Stevie Wonder, Anita Baker, Dionne Warwick and Bobby Brown. The resulting single, which benefited charity, made headlines at the time and helped to raise public awareness of the Johnsons' anthem. Selected for the 2016 registry.
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"Wild Cat Blues." Clarence Williams' Blue Five. (1923)
Clarence Williams' "Wild Cat Blues" is among the earliest jazz recordings to have a widespread influence on other musicians. Pianist, composer, vocalist and entrepreneur Clarence Williams led hundreds of recording sessions during the 1920s, featuring some of New York's finest black talent. He was a primary figure in Okeh Records's "race series," the first label to target the African-American audience. "Wild Cat Blues," composed by "Fats" Waller, was one of the first jazz recordings to feature a virtuoso instrumentalist, in this case Sidney Bechet, who demonstrates an instrumental command combined with a compelling jazz feel on his saxophone. Selected for the 2015 registry.
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"See See Rider Blues." Gertrude "Ma" Rainey. (1924)
"Ma" Rainey, called by some "the Mother of the Blues," was a pioneering blues artist whose career began in tent shows and vaudeville. She is credited with influencing many blues singers, most notably Bessie Smith. Although others recorded blues songs before Rainey and had begun to refine the genre, her recordings retain the powerful directness and poignancy that made her famous. Rainey made numerous recordings for the Paramount label; this recording is from a session she recorded with Louis Armstrong and Fletcher Henderson. Selected for the 2004 registry.
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"Canal Street Blues." King Oliver's Creole Jazz Band. (April 5, 1923)
This recording of April 5, 1923, is the second title recorded by Oliver's ensemble. Of the group, "Early Jazz" author Gunther Schuller wrote, "The glory of the Creole Jazz Band is that it sums up…all that went into the New Orleans way of making music: its joy, its warmth of expression, its Old World pre-war charm, its polyphonic complexity, its easy relaxed swing...." Oliver's 1923 band included Oliver on first trumpet; Louis Armstrong, second trumpet; Johnny Dodds, clarinet; Honore Dutrey, trombone; and Baby Dodds, drums; and others. Selected for the 2009 registry.
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Armistice Day broadcast. Woodrow Wilson. (November 10, 1923)
This recording of former President Woodrow Wilson made by phonograph technician Frank L. Capps is the earliest surviving sound recording of a regular radio broadcast. It is also believed to be the earliest known example of a recording made by electrical, rather than acoustic, means. Selected for the 2004 registry.
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"Rhapsody in Blue." George Gershwin, piano; Paul Whiteman Orchestra. (1924)
The first recording made of this classic American composition featured the composer at the piano and Paul Whiteman conducting. The recording was made several months after the 1924 Aeolian Hall premiere of the work. Selected for the 2002 registry.
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National Defense Test (USA). (September 12, 1924)
In the 1920s, before national radio networks existed, a group of radio stations from across the country cooperated in a test to determine how radio stations might respond in a national emergency. This is the recording of that experiment. It is notable as one of only a handful of extant recorded radio broadcasts from this era. Furthermore, it is technologically significant as an experiment of real-time switching between stations in 14 different cities. Featured on the recording are conversations between General John J. Pershing and other generals stationed throughout the country. Selected for the 2006 registry.
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"Adeste Fideles." The Associated Glee Clubs of America. (1925)
In 1925, Columbia Records chose to promote its new electrical recording process by recording a chorus of several thousand voices at the Metropolitan Opera House in New York City. Fifteen glee clubs participated in the March 31, 1925 concert. In the finale, concert performers and audience combined forces to record "Adeste Fideles." By recording electrically with a microphone rather than an acoustic recording horn, the sound produced was indeed more faithful to the actual performance, and louder, than any recording made by the other older method. Selected for the 2003 registry.
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"Charleston." The Golden Gate Orchestra. (1925)
The musicians on this Edison disc recording included such notable musicians as Red Nichols, Tommy Dorsey, Jimmy Dorsey, and Adrian Rollini. This selection represents the Edison Disc Record Master Mold Collection at the Edison National Historic Site in West Orange, New Jersey. The Edison Phonograph Works used these metal molds to mass-produce disc records from 1910 to 1929 and, as such, are the generation closest to original wax masters. They are the best-sounding sources for Edison disc recordings, as well as the most archivally stable. Selected for the 2004 registry.
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Inauguration of Calvin Coolidge. (March 4, 1925)
Calvin Coolidge's inauguration in 1925 was the first presidential inauguration to be broadcast. Using the latest technology, RCA and Bell Telephone aired the ceremonies over a makeshift network of radio stations. "The New York Times" estimated that more than 25 million Americans would be able to hear the President's address, thus making it a national event in a manner not previously possible. Twenty-one radio stations, linked in a circuit throughout the country, broadcast the president's 47-minute inaugural address from the steps of the U.S. Capitol. Selected for the 2005 registry.
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"Sugar Foot Stomp." Fletcher Henderson. (1925)
“Sugar Foot Stomp” was a milestone recording that incorporated jazz into a dance band setting. Henderson was one of the most successful African American bandleaders of his time. From its inception in 1921, his band played rather polite dance music, laced with a well-intended yet ponderous style of jazz, typically found in New York during the early 1920s. This changed suddenly upon the October 1924 arrival of New Orleans cornetist Louis Armstrong into the Henderson ensemble. Based on Armstrong’s collaboration with Joe Oliver’s “Dipper Mouth Blues,” “Sugar Foot Stomp” — in a smart, forward-looking arrangement by Don Redman — becomes streamlined and timelessly hip. Its most salient feature was the 36-bar solo by Armstrong, based on Oliver’s own “Dipper Mouth Blues” solo. Selected for the 2023 registry.
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The first transatlantic radio broadcast. (March 14, 1925)
Representing a technological breakthrough, this early orchestral broadcast originated in London, traveled by land line to station 5XX in Chelmsford, England crossed the Atlantic where it was picked up by an RCA transmitter in Maine, and then relayed to stations WJZ in New York and WRC in Washington, D.C. Although the fidelity is low, the recording is significant as documentation of a technical achievement and is a rare instance of an extant example of a complete radio broadcast of the 1920s. Selected for the 2007 registry.
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Hot Five and Hot Seven recordings. Louis Armstrong. (1925-1928)
Louis Armstrong was jazz's first great soloist and is among American music's most important and influential figures. These sessions, his solos in particular, set a standard musicians still strive to equal in their beauty and innovation. Selected for the 2002 registry.
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"Black Bottom Stomp." Jelly Roll Morton's Red Hot Peppers. (1926)
"Black Bottom Stomp" is a masterly example of Ferdinand "Jelly Roll" Morton's creative talents as a composer, arranger and pianist. Moreover, it is an authentic representation of the New Orleans jazz tradition, which relied strongly on an ensemble polyphony where the frontline instruments of trumpet, clarinet and trombone played simultaneous but complementary themes. "Black Bottom Stomp" has more than one theme, or "strain," a carryover from ragtime. Arranged with harmonized passages, breaks and solos, and a changing balance between the instrumentalists, Morton fashioned a unique, continuous whole. Selected for the 2006 registry.
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"Fascinating Rhythm." Fred and Adele Astaire; George Gershwin, piano. (1926)
"Lady, Be Good," George and Ira Gershwin's debut Broadway score, produced such standards as "Fascinating Rhythm" and "Oh, Lady Be Good!" The show starred siblings Fred and Adele Astaire. Several songs from the score were recorded in 1926 when the musical was touring in London. The recordings offer an opportunity to appreciate the innocent appeal of Adele, who retired from show business in 1932, and the piano accompaniments of composer George Gershwin. Selected for the 2004 registry.
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"Tanec Pid Werbamy/Dance Under the Willows." Pawlo Humeniuk. (1926)
Pawlo Humeniuk was a renowned violin player in Ukrainian communities before beginning his recording career with Columbia, for which he made this dance number. After learning the violin in western Ukraine at the age of 6, he enjoyed a busy career playing concerts, dances and vaudeville theaters. This song is an excellent example of the ethnic releases that record labels began to produce in the 1920s for sale to immigrant communities in the United States. Selected for the 2005 registry.
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"Black Snake Moan" / "Match Box Blues." Blind Lemon Jefferson (1927)
By the time of this recording in 1928, Blind Lemon Jefferson, an African-American street singer from a small country town outside of Dallas, Texas, had reshaped and expanded the blues genre on record. With only his guitar for accompaniment, and a high wailing tenor of a voice, Jefferson recorded a series of powerfully individualistic performances on record from 1925 to 1929, the year of his death. Though he used what were already traditional frameworks for many of his songs, Jefferson personalized them with the interplay between his voice and guitar, extending vocal phrases with long intricate lines of notes, adding or omitting measures in the song as it suited him. This 1928 coupling issued by the Okeh label, and holds two of Jefferson's best performances—"Matchbox Blues," later recorded by Carl Perkins, the Beatles, and many others, and the eerie, lascivious "Black Snake Moan." Selected for the 2014 registry.
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"Blue Yodel (T for Texas)." Jimmie Rodgers. (1927)
The "blue yodels" of Jimmie Rodgers, the "Father of Country Music," helped to define country music. Rodgers' compositions and recorded performances combined black and white musical forms and popularized American rural music traditions. Selected for the 2004 registry.
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"Dark Was the Night, Cold Was the Ground." Blind Willie Johnson. (1927)
Blind Willie Johnson (1897-1945), a blind African-American guitar-evangelist from Beaumont, Texas, recorded 30 titles between 1927 and 1930. Although most of them were classics, none were quite like "Dark Was the Night, Cold Was the Ground." To create this singular work, Johnson drew on an 18th-century hymn of English origin known as "Gethsemane," which begins with the lines "Dark was the night, cold was the ground/On which my Lord was laid." Instead of singing the lyrics, however, he evoked the sorrowful intensity of the hymn's subject matter by humming and moaning wordlessly in the manner of a church congregation, reinforcing and ornamenting his voice with sliding notes on his guitar. Johnson has distilled the essence of the text and the tradition into an unforgettably intense evocation of Christ on the eve of the Crucifixion as relived in the music of the churches he knew in his youth. Selected for the 2010 registry.
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"Singin' the Blues." Frankie Trumbauer and His Orchestra with Bix Beiderbecke. (1927)
Saxophonist Frankie Trumbauer and cornetist Bix Beiderbecke created some of the most significant jazz recordings of the 1920s, works still noted for their beauty and influence on fellow musicians. Trumbauer and Beiderbecke later worked together in the orchestras of Jean Goldkette, Adrian Rollini and Paul Whiteman. Together with guitarist Eddie Lang and other members of the ensemble, Trumbauer and Beiderbecke recorded "Singin' the Blues," which contains one of Beiderbecke's greatest solos. Selected for the 2005 registry.
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"Stardust." Hoagy Carmichael. (1927)
"Stardust" was songwriter Hoagy Carmichael's first great success. It was performed at a rapid tempo when it was first recorded in 1927 by Hoagy Carmichael on piano and His Pals. In later, slower interpretations, "Stardust" became one of the most recorded ballads in jazz and popular repertories. Lyrics were added to the song in 1931. Selected for the 2004 registry.
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Victor Talking Machine Company sessions in Bristol, Tennessee. The Carter Family, Jimmie Rodgers, Ernest Stoneman, and others. (1927)
Victor Records, searching for performers of "hillbilly" music, recorded performances by 19 local musicians in Bristol, Tennessee, in 1927. The amazing display of talent yielded such future country music recording stars as the Carter Family, Jimmie Rodgers, and Ernest Stoneman. The sessions are considered a watershed moment in the history of country music. Selected for the 2002 registry.
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"El Manisero" ("The Peanut Vendor") (Rita Montaner, vocal with orchestra); "El Manisero" (Don Azpiazu and His Havana Casino Orchestra). (1927; 1930)
Popular Cuban singer and radio artist Rita Montaner recorded the first version of the traditional song "El Manisero" in Havana in 1927. The Don Azpiazu and His Havana Casino Orchestra version of "El Manisero," adapted from Montaner's recording, was made in New York City three years later. It is the first American recording of an authentic Latin dance style composition. This later recording launched a decade of "rumbamania," introducing U.S. listeners to Cuban percussion instruments and Cuban rhythms. Selected for the 2005 registry.
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"Protesta per Sacco e Vanzetti," Compagnia Columbia; "Sacco e Vanzetti," Raoul Romito. (1927)
"Compagnia Columba" were a group of actors who recorded this and other scenes for the Columbia label, including sketches about the death of Rudolph Valentino and the Lateran Treaty that recognized Vatican City as an independent state. This 1927 release combines a spoken, dramatic set piece on it's A side with a protest song on the B side. Both sides decry the impending execution of Nicola Sacco and Bartolomeo Vanzetti, two Italian American immigrants convicted of murder in 1920 but believed by many to have been railroaded because of their anarchist political beliefs. "Protesta per Sacco e Vanzetti" presents a scene at a rally for the two men, with actors, representing different regions of Italy, speaking on their behalf as well as others wrongly accused: "Friends, you already know what has brought us together here, and I am happy to see in this solemn moment a crowd made up not just of Italians but of people of all nationalities: Italians, Americans, Jews, English, Japanese. At this fatal hour we have come together to form a single race: the human race! With no differences based on age, on class, or on party." The scene was written by Frank Amodio, who specialized in dramatic and comedic sketches aimed at Italian-Americans. Side B features Raoul Romito, a popular Neapolitan tenor residing in the U.S., performing a song written by Renzo Vampo and F. Penisero, of whom little is known, though they wrote at least one other song also in defence of Sacco and Vanzetti. Selected for the 2019 registry.
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First official transatlantic telephone conversation. (January 7, 1927)
Upon the opening of the transatlantic telephone circuit for commercial service, W.S. Gifford, president of the American Telephone & Telegraph Co., called Sir Evelyn P. Murray, secretary of the General Post Office of Great Britain, offering felicitations. Selected for the 2005 registry.
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Charles A. Lindbergh's arrival and reception in Washington, D.C., NBC radio broadcast coverage. (June 11, 1927)
NBC radio's June 11, 1927 coverage of the arrival of Charles A. Lindbergh in Washington D.C. was a landmark technical as well as journalistic achievement for the fledgling network. Radio reporters were stationed at the three locations in Washington to provide successive, live descriptions of the pilot's arrival: the Washington Navy Yard; the procession along Pennsylvania Avenue; and his reception at the foot of the Washington Monument by President Calvin Coolidge. Selected for the 2004 registry.
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"Allons à Lafayette." Joseph Falcon. (1928)
"Allons à Lafayette," a lively two-step, was the first commercial recording of traditional Cajun music. Accordionist Joe Falcon and guitarist Cleoma Breaux, his future wife, recorded this song for Columbia Records in a New Orleans field session on April 17, 1928. Falcon began playing the accordion as a child and soon became a well-known and sought-after dance hall musician, performing throughout Louisiana and other states. His recording career ended soon after Cleoma's death, but he continued to play and perform live with his second wife, Theresa, until his death in 1965. Selected for the 2007 registry.
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“Kauhavan Polkka.” Viola Turpeinen & John Rosendahl. (1928) (single)
Viola Turpeinen was born to Finnish parents in Michigan in 1909 and took up the accordion at the age of 14. In 1926, she met violinist John Rosendahl, who had emigrated from Finland in his late teens in 1908. The two soon found success in Finnish and other Nordic communities of the Midwest, making their first recordings for Victor in January 1928. In “Kauhavan Polkka,” Turpeinen and Rosendahl seem to be urging each other on throughout as they might at a dance hall, challenging the dancers to match their tempo. Rosendahl died in 1931, but Turpeinen remained a highly popular performer with Finnish and other Nordic Americans. Her music reflected America’s melting pot in its blend of old and new Finnish, Swedish, Norwegian, Danish and even Italian styles. Selected for the 2024 registry.
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"Smyrneikos Balos" (single). Marika Papagika. (1928)
Born on the Greek island of Kos in 1890, singer Marika Papagika immigrated to New York City in 1915 with her musician husband Gus. She began recording in 1918, and quickly became one of the most popular singers in the Greek-American community, eventually recording well over 200 sides, often accompanied by her husband on the cimbalom. "Smyrneikos Balos," a lament for lost love that is also a couples' dance, was one of her most popular songs and she recorded it three times. Selected for the 2020 registry.
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Standing Rock Preservation Recordings. George Herzog and Members of the Yanktoni Tribe. (1928)
The voices of several of the Sioux's Yanktoni-Dakota band, recorded at the Standing Rock Reservation in 1928, preserve a snapshot of a culture in a moment of great transition. Comprised of nearly 200 fragile wax cylinders, George Herzog's work documented both old songs, remembered from before the band was relocated to Standing Rock, and modern songs that try to harmonize that past with the life they have found in their new home. Today, Herzog's scholarship complements and contextualizes these field recordings and contributes to their value as a resource. This collection tells the extraordinary story of collaboration and indigenous scholarship, archiving and advocacy. Selected for the 2017 registry.
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"Statesboro Blues." Blind Willie McTell. (1928)
This haunting blues recording exhibits an unforgettable intensity. McTell's unusual voice is compelling, bearing a confidential quality, as though he is telling a secret. He is a captivating storyteller. McTell's voice is accompanied brilliantly by his 12-string guitar as the latter darts and dodges among the vocal phrases, creating many layers of rhythm. The guitar is also somewhat out-of-tune which combines with a reverberant room to lend the record an eerie effect. McTell is also very free with meter, in the manner of old-time country performers, adding and subtracting the standard number of measures. His performance never appears self-conscious, but rather, flows like a river. His confidence and quiet bravado make this a performance for the ages. Selected for the 2015 registry.
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"Wildwood Flower." The Carter Family. (1928)
The legendary Carter Family's most famous recording, "Wildwood Flower," showcases Mother Maybelle Carter's legendary "Carter Scratch," her trademark guitar technique in which she plays melody on the bass strings with her thumb while strumming the rhythm on the treble strings. The Carter Family's close harmony singing, unique picking style and popularization of folk tunes, as well as other song genres, formed the foundation of modern country music and continues to significantly influence musicians today. Selected for the 2006 registry.
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Reflections by Carlene Carter (PDF, 140KB)
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"Casta Diva" from Bellini's "Norma." Rosa Ponselle; accompanied by the Metropolitan Opera Orchestra and Chorus, conducted by Giulio Setti. (December 31, 1928 and January 30, 1929.)
The gifted American soprano Rosa Ponselle was known for her brilliant portrayal of Norma, Bellini's Druid priestess who sacrifices herself on the funeral pyre of her Roman lover. A native of Connecticut, Ponselle made her Metropolitan Opera debut at the age of 21, playing Leonora opposite Enrico Caruso in "La Forza del Destino." Previously, she and her sister Carmela appeared in vaudeville and in New York film theaters. The range, warmth and beauty of Ponselle's art represented vocal perfection to many listeners and earned her a long and successful operatic and recording career. Selected for the 2007 registry.
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"Ain't Misbehavin'." Thomas "Fats" Waller. (1929)
"Fats" Waller's solo piano recording of his now-classic composition "Ain't Misbehavin'" preserves the composer's inventive talents as one of jazz's greatest pianists. In this recording Waller took the "stride" piano tradition to a new level of musical expression. Selected for the 2004 registry.
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Cajun-Creole Columbia releases. Amédé Ardoin and Dennis McGee. (1929)
Amédé Ardoin was an African-American accordionist whose passionate singing and syncopated playing left an influential legacy to both Cajun and Zydeco music. He first recorded in 1929 with fellow sharecropper Dennis McGee, a Cajun violinist. The popularity of their music, exhibiting a fine synthesis of Cajun and Creole styles, transcended racial barriers. Selected for the 2003 registry.
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Listen—Taunt Aline
"Gregorio Cortez." Trovadores Regionales. (1929)
This vocal duet with guitar, by Pedro Rocha and Lupe Martinez, is an outstanding example of the "corridos" style of ballad. Reflecting the cultural conflicts between Mexican-Americans and Anglo-Americans in the American Southwest, it describes the heroics of a vaquero falsely accused of murder. The Vocalion label recording of "Gregorio Cortez" is representative of the significant recordings being preserved in the Arhoolie Foundation's Strachwitz Frontera Collection of commercially-produced Mexican and Mexican-American recordings at the University of California, Los Angeles. Selected for the 2004 registry.
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Piano Concerto No. 2 in C Minor. Sergei Rachmaninoff, piano; Leopold Stokowski, conductor; Philadelphia Orchestra. (1929)
Sergei Rachmaninoff's piano performances of his own compositions are considered by many to be unparalleled. Rachmaninoff first recorded the complete 2nd piano concerto in 1929. Two of its three movements were released on acoustically recorded discs in 1924. Selected for the 2004 registry.
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"Pony Blues." Charley Patton. (1929)
This is the signature recording of Charley Patton, one of the first and finest blues musicians to ever come out of the Mississippi Delta region. "Pony Blues" showcases Patton's characteristic trademarks: powerful vocals, heavily accented guitar rhythms and unusual vocal phrasing. Patton was an enormous influence on his contemporaries and future blues performers, notably Howlin' Wolf, Bukka White and Big Joe Williams. Selected for the 2006 registry.
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"Puttin' on the Ritz." Harry Richman. (1929)
Irving Berlin's timeless "Puttin' on the Ritz" has been an enduring hit since its introduction in the film of the same title. This is remarkable given the rhythmic complexities of the first four measures. Musicologist and author Alec Wilder wrote in "American Popular Song," "It is the most complex and provocative I have ever come upon." The song was introduced in the film by Harry Richman (1895-1972), a song-and-dance man and star of radio, movies and nightclubs. Although Richman is little remembered today, his top-hatted presence, with cane and tails, set the tone and stage for this swanky tune. His enduring features—a slight lisp and a tendency to over-pronounce the syllable "oo"—have been parodied in animated cartoons and by musician/comedian Spike Jones. On this recording, Richman is accompanied by Earl Burtnett and his Los Angeles Hotel Biltmore Orchestra, who supply sophisticated accompaniment. Since its debut, the song has become a favorite on television and in movies, most memorably in Mel Brooks' "Young Frankenstein." International artist Taco also turned it into a Top 10 "Billboard" hit for the MTV generation. Selected for the 2016 registry.
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"Light's Golden Jubilee." (October 21, 1929)
Celebrating the 50th anniversary of the invention of incandescent light, inventor Thomas Edison was honored at a dinner held on October 21, 1929. Portions of the celebration were broadcast over the NBC radio network. Hosted by announcer Graham McNamee, the radio program included speeches by President Herbert Hoover, Marie Curie, Henry Ford and, speaking over shortwave from Berlin, Albert Einstein. Messages from the Prince of Wales, President Von Hindenberg and Commander Richard Byrd from the South Pole were also read during the broadcast. Selected for the 2005 registry.
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Listen (MP3)
Melville Jacobs Collection of Native Americans of the American Northwest. (1929-1939)
Melville Jacobs (1902-1971) was an anthropologist and linguist whose research and field recordings have made a crucial contribution to the preservation of Native American languages of the Northwestern United States including Athabascan, Chinook, Coos, Kalapuya, Lummi, Lushootseed, Sahaptin, Tillamook, Tlingit and Tsimshian. In all, Jacobs made nearly 170 recordings (on both cylinder and disc), in 23 separate languages, documenting some of the final speakers of many of these dialects. But since their creation, Jacobs's recordings and documentation have not languished in the archives as examples of forgotten traditions. Various tribes have taken a keen interest in this documentation of the language, stories, music and culture, and, in the case of the Miluk language, they have even been utilized in classes attempting to revive this vanishing native tongue. Selected for the 2018 registry.
Learn more (PDF, 112KB)
Listen—"Songs in Snoqualmie" (Hand Games Songs) (MP3)
Beethoven's Egmont Overture, Op. 84. Modesto High School Band. (1930)
This 1930 recording of the Modesto, California High School Band is the only known recording made by a high school band participating in the National High School Band contests held between 1926 and 1934. Under the direction of Frank Mancini, Modesto High School placed third in the 1927 and 1928 contests and second in 1929. An important educator and conductor who directed band programs in California area schools, Mancini was a former member of the bands of John Philip Sousa and Patrick Conway. Limited edition high school band recordings were once common, produced as fundraising tools for school bands and treasured as souvenirs by band members. However, few high school bands were recorded before the advent of tape recording and long-playing discs in the late 1940s. Selected for the 2005 registry.
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Listen (MP3)
"Lamento Borincano" (single). Canario y Su Grupo. (1930)
"Lamento Borincano" was written about the plight of the Puerto Rican farmer during the Great Depression. It is well known in Puerto Rico and throughout Latin America to this day and has been recorded dozens of times, including versions by contemporary singers such as Marc Anthony and Placido Domingo. The song's success launched the careers of three major Puerto Rican artists: songwriter Rafael Hernández, bandleader "Canario" (Manuel Jiménez) and singer "Davilita" (Pedro Ortiz Dávila), who was just 18 when he recorded the song. The term "Borincano" derives from the indigenous name for Puerto Rico—Borinquen. The song tells of a proud mountain farmer who rides into the cities of Puerto Rico to sell his wares, but finds them empty and abandoned and returns home wondering "what will become of Borinquen … what will become of my children and my home?" Selected for the 2017 registry.
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"Sitting on Top of the World" (single). Mississippi Sheiks. (1930)
Guitarist Lonnie Chatmon and violinist Walter Vinson styled themselves as the "Mississippi Sheiks" when they were recorded by an OKeh Records field recording team in Shreveport, Louisiana, in February 1930. At the time, the word "sheik" was slang for a suave lover, inspired by Rudolph Valentino's success in the films "The Sheik" and "Son of the Sheik." They had recorded before with other players, and the name might not have stuck but for the success of a song from the session entitled "Sitting on Top of the World." Though the guitar and violin pairing was not unique in blues at the time, the song was structured differently than most other commercial blues records, and the melody, as well as the ironic, defiant refrain of the title, stayed with listeners from the first hearing. The song, composed by Vinson, quickly became part of the Southern and Southwestern musical vernacular, with distinctive versions recorded by black and white artists, including Charlie Patton, Bob Wills and the Texas Playboys, Bill Monroe, Ray Charles, Howlin' Wolf and many others. Selected for the 2017 registry.
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"Night Life." Mary Lou Williams. (1930)
When a record producer asked for an impromptu solo piano performance, 20-year-old Mary Lou Williams created an original three-minute collage of stride, ragtime, blues and pop styles that summarized the art of jazz piano up to that time while pointing to the future of that genre and her own career in it. At the time, she was a pianist, composer and arranger for Andy Kirk and His Twelve Clouds of Joy, one of the great jazz bands of the Midwest. She later said that thoughts about the nightlife of Kansas City had driven this composition. Selected for the 2008 registry.
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"Ten Cents a Dance." Ruth Etting. (1930)
Singer Ruth Etting was one of the first great singers of the electrical era of recording, the period after the mid-1920's when the microphone replaced the acoustic recording horn. As with the best of the male crooners of the period, Etting's vocal delivery was artfully understated and personal. In the words of popular music writers Phil Hardy and Dave Laing, Etting, "[b]y turns peppy, fragile, and gallant...evinced the contradictory spirits of America in the Depression: sometimes beaten down, sometimes bearing up, whenever possible blithe." All these characteristics are evident in her recording of Rodgers and Hart's "Ten Cents a Dance," recorded only two weeks after Etting introduced the song on stage in the musical "Simple Simon." Selected for the 2011 registry.
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"The Suncook Town Tragedy." Mabel Wilson Tatro of Springfield, Vermont. (July 1930)
This ballad about a New Hampshire tragedy is one of the earliest recordings recorded by Helen Hartness Flanders. She recorded many similar vernacular story-songs in her extensive documentation of the vernacular music of Vermont. Copies of the recording are held by Middlebury College and the American Folklife Center at the Library of Congress. Selected for the 2004 registry.
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Highlander Center Field Recording Collection. Zilphia Horton, others. (1930s-1980s)
The Highlander Center has played an important role in many political movements. These discs document Zilphia Horton, who introduced "We Will Overcome" to the Southern Labor Movement, and later, to Pete Seeger. The Collection also includes recordings of activists Myles Horton, Rosa Parks, Esau Jenkins, and Septima Clark. Selected for the 2002 registry.
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And more (PDF, 186KB)
Listen (MP3)
"It's the Girl." The Boswell Sisters with the Dorsey Brothers Orchestra. (1931)
The Boswell Sisters—Connie, Martha and Vet—produced vocal harmonies that were magical. While polished, their creamy blend revealed their New Orleans roots with its relentless swing and deep feeling for the blues. "It's the Girl," a popular song of 1931, is given a classic Boswell treatment: rhythmic variations on the original song, perfect diction projected with relaxed ease and a fast tempo—with sudden tempo and mood changes—and a sprint to the end. The Dorsey Brothers Orchestra accompaniment, like the Boswell Sisters' performance, pairs the brisk, loose ease of New Orleans jazz within a tight knit ensemble. Selected for the 2010 registry.
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"Minnie the Moocher" (single). Cab Calloway. (1931)
By 1931, songs about Dens of Iniquity were nothing new, but one so deliberate, not to mention as entertaining, as Cab Calloway's "Minnie the Moocher," was indeed remarkable. "Minnie" bears more than a slight resemblance to a 1920s ditty titled "Willie the Weeper," a song about a "chimney sweeper" with a drug addiction. Minnie, herself, is characterized as both "rough and tough" and big-hearted, and one who hung around with types as disparate as "Cokey Joe" and the King of Sweden. An equally unlikely pairing was the wild abandon, yet perfect control, with which Cab Calloway sang this minor-keyed fable. Calloway sang "Minnie" throughout his long career, including a rousing version he performed in the 1980 film "The Blues Brothers," when he was an agile septuagenarian. Selected for the 2018 registry.
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"Bacon, Beans and Limousines." Will Rogers. (October 18, 1931)
Will Rogers had starred on the stage and screen and even made records, but when he entered radio broadcasting, it proved to be a natural medium for his folksy but pointed ruminations on topical matters. At one of the lowest points of the Great Depression, he took part in a national broadcast with President Herbert Hoover to kick off a nationwide unemployment relief campaign. Rogers praised Hoover's integrity and intentions, but also decried the tragedy of such hard times in a land of plenty: "We'll hold the distinction of being the only nation in the history of the world that ever went to the poor house in an automobile," he observed. "The potter's fields are lined with granaries full of grain. Now if there ain't something wrong in an arrangement like that, then this microphone here in front of me is—well, it's a cuspidor, that's all." The broadcast demonstrates the status Rogers had gained as a spokesperson for the "common man," who used popular culture to satirize financial and political corruption, especially as the country went from the extravagant twenties into economic depression. Although Rogers is sardonic, the talk also conveys his fundamental optimism and faith in the good-heartedness of the American people. Selected for the 2012 registry.
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Radio Feature (MP3)
Bell Laboratories experimental stereo recordings. Philadelphia Orchestra; Leopold Stokowski, conductor. (1931-1932)
Experimental recordings made by the Bell Laboratories in early 1930s resulted in the first high-fidelity, stereo recordings. Among them were recordings which feature this great American orchestra under its renowned, and controversial, conductor Leopold Stokowski. Selected for the 2002 registry.
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"Brother, Can You Spare A Dime." Bing Crosby; Rudy Vallee. (both 1932)
Composed by Jay Gorney and E.Y. "Yip" Harburg, "Brother, Can You Spare a Dime" was the show-stopping number of the 1932, Depression-era musical "American Revue." The minor-key melody, according to Gorney, was inspired by a Yiddish lullaby. The song's lyrics underscored the irony of Depression-era American working class who had once built railroads and fought wars only to now find themselves waiting in bread lines. With its bittersweet melody and bold, unsentimental lyrics, this arresting anthem to America's "forgotten man" became a major hit. Recordings by Bing Crosby and Rudy Vallee—both issued the same year—were best sellers and emphasized the song's strengths in different ways. Crosby's nuanced baritone played to the song's drama; his use of rubato during the verse being especially effective. On the other hand, Vallee's light tenor is more emotionally removed and allows the song to stand more on its own merits. Selected for the 2013 registry.
Learn more—Rudy Vallee version (PDF, 48KB)
Learn more—Bing Crosby version (PDF, 121KB)
Listen—Rudy Vallee version External
Listen—Bing Crosby version External
The Complete Beethoven Piano Sonatas (album). Artur Schnabel. (1932-1935)
Ludwig van Beethoven's 32 sonatas for piano alone are legendary in the history of classical music. The German conductor and pianist Hans von Bülow called them music's "New Testament," while the scholar Charles Rosen referred to them as "a bridge between the worlds of the salon and the concert hall." It was Artur Schnabel who first committed the entire 32 sonatas to disc. The Austrian pianist was already a towering intellectual and artistic figure in 1932 when His Master's Voice launched the Beethoven Sonata Society, through which subscribers could purchase Schnabel's discs as they became available. Today, there are countless complete collections of these works by others, but it is Schnabel who remains the pre-eminent Beethoven pianist on record. Selected for the 2017 registry.
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Rosina Cohen oral narrative from the Lorenzo D. Turner Collection. (1932)
African-American linguist Lorenzo D. Turner recorded numerous Gullah dialect stories, songs, sermons, and accounts of slavery during the summers of 1932 and 1933. In this oral narrative, Rosina Cohen recounts her memories of slaves being freed by Yankees on Edisto Island. The recording is significant as a permanent record of a vanishing American regional dialect and as a document of African-American cultural history. Selected for the 2004 registry.
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"Show Boat" (album). Victor Young, conductor; Louis Alter, piano. (1932)
Original cast recordings of hit musicals were not made at the time of Jerome Kern and Oscar Hammerstein's landmark 1927 show, "Show Boat." In 1932, however, Brunswick Records recorded 10 sides of selections from the musical and issued them as an album set. The most notable performances on the set are those of Helen Morgan, the original "Julie," and Paul Robeson, who played "Joe" in the London cast. The set also includes discs of the musical's overture and finale, making it as close to an original cast album as one may encounter from this period. Selected for the 2005 registry.
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"Voices from the Days of Slavery." Various Speakers. (1932-1975)
In 2002, the American Folklife Center created the online presentation"Voices from the Days of Slavery,"gathering together 24 interviews with former African-American slaves conducted mostly between 1932 and 1941 and across nine Southern states as part of various field recording projects. During this period, thousands of slave narratives were also collected on paper from by WPA workers, but these are the only known audio recordings of former slaves. As historian C. Vann Woodward said of the WPA narratives, these recordings "represent the voices of the normally voiceless," but with all the nuances of expression that written transcriptions cannot reproduce. They recall aspects of slave life and culture, including family relations, work routines, songs, dances, and tales, as well as their relationship with masters, punishments, auctions, and escapes. They recount experiences of the Civil War, Emancipation, and Reconstruction. One interviewee worked for Confederate President Jefferson Davis, as did his father and grandfather. These are fragments of history, and reflect the technical and social limitations of the recording sessions, but the voices of these ex-slaves provide invaluable insight into their lives, communities, and the world of slavery they left behind. Selected for the 2011 registry.
Learn more (PDF, 37KB)
Voices from the Days of Slavery
"Goodnight, Irene." Lead Belly. (1933)
Huddie Ledbetter, better known as Lead Belly or Leadbelly, sang spirituals, popular songs, field and prison hollers, cowboy and children's songs, dance tunes and folk ballads, as well as his own compositions throughout his career. Lead Belly was first recorded in 1933 by John and Alan Lomax when the singer was serving time in the Louisiana State Penitentiary. "Goodnight, Irene," Lead Belly's best-known song, became a bestseller for the Weavers in 1950, just months after Lead Belly's death. This is the first recording of "Irene," which includes some lyrics that were later changed. Selected for the 2003 registry.
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"Stormy Weather." Ethel Waters. (1933)
Ethel Waters began her career as a blues singer but became a pioneer jazz singer, adapting her voice to a conversational style in which the meaning of the song lyrics are conveyed with subtle theatricality. Waters' rendition of "Stormy Weather" became a bestseller, bringing her tremendous exposure and respect as a jazz singer and incomparable interpreter of the American Songbook. "Stormy Weather" composers Harold Arlen and Ted Koehler originally intended their 1933 song to be sung by Cab Calloway in a revue to take place at Harlem's Cotton Club. However, it quickly made its way to Waters instead who then made it her own. Selected for the 2004 registry.
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"Fireside Chats." President Franklin D. Roosevelt's radio addresses. (1933-1944)
The Fireside Chats were an influential series of radio broadcasts in which Roosevelt utilized the media to present his programs and ideas directly to the public and thereby redefined the relationship between the President and the American people. Selected for the 2002 registry.
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Complete Presidential Speeches. Franklin D. Roosevelt. (1933-1945)
The most famous speeches by Franklin D. Roosevelt are tied to singular events—such as the attack on Pearl Harbor—but many of his most influential addresses were actually made on otherwise mundane occasions in the 1930s such as on a tour of a flood control project in 1936, when he delivered the blistering "I Hate War" speech, anticipating World War II. Others reverberate in our time for different reasons, such as when he spoke on behalf of the campaign against polio, now nearly eradicated but a dreaded scourge in that era of which he was the disease’s most famous victim. His speeches are far more than sources for historical soundbites, they are defining political and social texts of their day that form a narrative of the 12 years of his presidency, and of an historical epoch. Selected for the 2022 registry.
Learn more (PDF, 336KB)
Listen—"I Have Seen War" (MP3)
Harvard Vocarium record series. T.S. Eliot, W.H. Auden, others. (1933-1956)
From the 1930s to the 1950s The Harvard University Poetry Room produced the Harvard Vocarium record label which featured prominent authors reading their own works. Among the writers recorded were T.S. Eliot, W.H. Auden, and Tennessee Williams. Selected for the 2002 registry.
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Listen—Ezra Pound reads from “The Cantos” (MP3)
"If I Could Hear My Mother Pray Again." Thomas A. Dorsey. (1934)
The acknowledged father of modern gospel music, Thomas A. Dorsey made only a handful of gospel recordings himself. Recording first as "Georgia Tom" and "Barrelhouse Tom," Dorsey was a noted blues artist and composer during the 1920s and early 1930s. In 1932, he dedicated the remainder of his life exclusively to gospel music. In four sessions in 1932 and 1934, Dorsey recorded several songs for Vocalion, including his popular composition "If I Could Hear My Mother Pray Again," which were released under his own name. His voice, although well-suited to his earlier blues and jazz recordings, was said to have lacked the qualities needed for gospel music and he made no further recordings, concentrating instead on songwriting and publishing. (Thomas Dorsey is not related to big-band leader Tommy Dorsey.) Selected for the 2007 registry.
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"Mal Hombre." Lydia Mendoza. (1934)
Singer Lydia Mendoza (1916-2007) once said, "It doesn't matter if it's a corrido, a waltz, a bolero, a polka or whatever. When I sing that song, I live that song." Mendoza had been performing and recording with her family's band since the late 1920s, and was only 16 when she recorded "Mal Hombre," investing the song's bitter lyrics with an artistic maturity that belied her age: "Cold-hearted man, your soul is so vile it has no name." "Mal Hombre" launched her solo career, her stark voice and graceful 12-string guitar lines resounding strongly with the Spanish-speaking audience of Texas. The Houston-born singer was soon known as "La Alondra de la Frontera," The Lark of the Border. Selected for the 2010 registry.
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"Tumbling Tumbleweeds." The Sons of the Pioneers. (1934)
The cowboy vocal group The Sons of the Pioneers was formed in 1933 by Roy Rogers, Tim Spencer and Bob Nolan. The group became America's premier western singing group and remained so for decades. They still perform today with different singers. The Sons of the Pioneers are widely admired for their smooth and adventurous harmonies. Their songs serve as the foundation of non-traditional, popular cowboy music. "Tumbling Tumbleweeds" was one of the songs cut at the Sons' first recording session, and it became the group's theme song, beautifully evoking the cowboy's love of the land. Selected for the 2010 registry.
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Radio Feature (MP3)
"You're the Top." Cole Porter. (1934)
"You're the Top" is a work by composer/lyricist Cole Porter at the top of his form. Seamlessly, the words and music of this quintessential "list song" convey wit, exuberance, and charmingly high- and low-cultural references. This solo performance, by Porter, invites the listener to become part of Porter's universe and imagine the composer performing, much as he might have for friends on a luxury cruise or in his own Waldorf Astoria suite. Selected for the 2006 registry.
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Radio Feature (MP3)
"New Music Quarterly" recordings. (1934-1949)
This series of 30 discs was published by Henry Cowell as part of his ground-breaking efforts to promote avant-garde music in the United States. The discs were issued in conjunction with his scholarly journal, "New Music," and include works by Walter Piston, Otto Luening, Edgard Varese, Cowell, and Charles Ives. Selected for the 2002 registry.
Learn more (PDF, 230KB)
Listen—Three Dance Movements for Percussion Group (William Russell)
"Every Man a King." Speech by Huey P. Long. (February 23, 1934)
Huey Long, governor of Louisiana from 1928 to 1932, was elected to the U.S. Senate in 1930 but did not take his Senate seat until 1932, after he had handpicked a successor for the governorship. A radical populist, he proposed a "Share the Wealth" plan with the motto "Every Man a King." The wealth was to be shared by increases in inheritance taxes which would "guarantee a family wealth of around $5,000; enough for a home and automobile, a radio, and the ordinary conveniences." In this 1934 radio speech, the Senator outlines his plan and explains why he no longer supports President Franklin D. Roosevelt. Selected for the 2003 registry.
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"I Want to Be a Cowboy's Sweetheart." Patsy Montana. (1935)
Singer Patsy Montana's signature song, "I Want to Be a Cowboy's Sweetheart," was written at a time in 1934 when she was feeling lonely and missing her boyfriend. Montana recorded the song a year later when Art Satherly, of ARC Records, needed one more song for a recording session with the Prairie Ramblers. Her song's lively, quick polka tempo and yodeling refrain, and Montana's exuberant delivery, resulted in it being requested at every performance; it became one of the first hits by a female country and western singer. A popular performer on the WLS radio program "National Barn Dance," Montana was the soloist with the Prairie Ramblers, a group that successfully melded jazz and string band music. Montana's film appearance in a Gene Autry film, "Colorado Sunset" in 1939 introduced her to a wider audience, and her independent air, high-spirited personality, and singing style quickly secured her popularity as a singing cowgirl. Patsy Montana was named to the Country Music Hall of Fame in 1996. Selected for the 2011 registry.
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Reflections by Suzy Bogguss (PDF, 266KB)
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Sounds of the ivory-billed woodpecker. (1935)
In 1935, on their expedition to document rare North American birds, Arthur Allen and Peter Paul Kellogg of Cornell University recorded a pair of ivory-billed woodpeckers in an old-growth Louisiana swamp forest known as the Singer Tract. These recordings of the birds' calls and foraging taps are presently the last confirmed aural evidence of what was once the largest woodpecker species in the United States. The last universally accepted sighting of an ivory-bill occurred in 1944. However, since that time, many scientists believe there have been credible sightings of the species, suggesting the bird might not be extinct. These 1935 recordings have been vital to recent searches and have been used to train searchers on what to listen for. They have also been used to develop pattern-recognition software, enlisting computers to analyze new field recordings identifying similar sounds. Selected for the 2008 registry.
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"Tristan und Isolde." Metropolitan Opera, featuring Kirsten Flagstad and Lauritz Melchior, NBC broadcast. (March 9, 1935)
This recording captures Wagnerian singing at its dramatic best by two of the greatest voices of the twentieth century and prime interpreters of the lead roles. The beauty and purity of Flagstad's singing, captured at the beginning of her worldwide fame, combined with Melchior's heroic scale and nobility creates an unsurpassed performance in this profoundly influential opera. This recording is an early example of the Metropolitan Opera's Saturday matinee broadcasts, which have brought live performances of complete operas into homes throughout the world for more than 75 years. Selected for the 2009 registry.
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"Gang Busters." (July 20, 1935)
The radio crime drama series "Gang Busters" was the creation of Phillips H. Lord, producer of the successful "Seth Parker" radio series. Capitalizing on the public's fascination with gangsters, Lord based his new show on true crime stories, going so far as to obtain the cooperation of the FBI director J. Edgar Hoover. "G-Men," as the series was known initially, premiered on July 20, 1935, but the FBI's enthusiasm waned quickly and its cooperation diminished. Revised as "Gang Busters," the show remained on the air until the late 1950s. The program's spectacular opening, which included sirens, police whistles, gunshots and tires screeching, inspired the slang expression, "come on like gangbusters!" Selected for the 2008 registry.
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"La Chicharronera" (single). Narciso Martinez and Santiago Almeida. (1936)
Martinez and Almeida, two pioneers of the Tex-Mex conjunto music, introduced the classic accordion (Martinez) and bajo sexto (Almeida) combination on this, their first recording for Bluebird Records. Martinez was known as the "Father of Conjunto Music" and had a long career in Texas, performing from a huge repertoire of regionally popular dance tunes and styles including polkas, redovas, schottisches, waltzes, mazurkas, boleros, danzones and huapangos. Almeida developed the bajo sexto guitar as the distinctive accompanying instrument in the classic conjunto style. Their music exemplified the blending of Central European instruments and dance genres with those of Mexican Texas that had been going on for at least a generation before they made their first recordings. This conjunto sound remains popular in Tex-Mex music in an expanded and amplified form. Martinez and Almeida were later honored with the NEA's National Heritage Fellowship artist award in 1983 and 1993, respectively. Selected for the 2019 registry.
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Listen (MP3)
"Wabash Cannonball." Roy Acuff. (1936)
Fiddler and vocalist Roy Acuff's "Wabash Cannonball" was first recorded in 1936 and featured the vocals of Sam "Dynamite" Hatcher of Acuff's band, the Crazy Tennesseans. Acuff later changed the band's name to the Smoky Mountain Boys while continuing to make himself well known through motion picture appearances, recordings and personal tours. He first appeared as a regular on the "Grand Ole Opry" in 1938 and was its top star by 1942. "Wabash Cannonball" was recorded again by Acuff, this time with his own vocals, in 1947. In 1962, Acuff became the first living artist to be elected into the Country Music Hall of Fame in 1962. Selected for the 2005 registry.
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"The Complete Recordings." Robert Johnson. (1936-1937)
The recordings made by Delta bluesman Robert Johnson in 1936 and 1937 had a significant impact on fellow bluesmen, as well as on such rock musicians as Eric Clapton and Keith Richards. Considered by some to be the "King of the Delta Blues Singers," Johnson's emotive vocals, combined with his varied and masterful guitar playing, continue to influence blues and popular music performers to this day. Selected for the 2003 registry.
Learn more (PDF, 73
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The 100 Jazz Albums That Shook The World
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2024-01-01T00:00:00
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Not just another “greatest jazz albums” list of favourite recordings and biggest sellers but a fully annotated look at the albums that actually changed jazz and changed lives
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en
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/media/74202/jwfavicon.jpg
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Jazzwise
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https://www.jazzwise.com/features/article/the-100-jazz-albums-that-shook-the-world
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The list featured below was originally published in the August 2006 issue of Jazzwise magazine and quickly established itself as a key reference for anyone interested in exploring the rich history of jazz on record.
We have now taken the concept much further with a new publication – The 100 Jazz Albums That Shook The World – a 100-page definitive guide to the most important and influential jazz albums that have gone on to change and shape the course of the music from the 1920s to the present day.
The 100 Jazz Albums That Shook The World is exclusively available in print and includes new in-depth editorial on each album from Jazzwise's acclaimed team of writers, plus in-depth features on the making of the top three albums, a look at the albums that almost made the cut and a guide to buying the featured titles on LP and CD.
Order your copy today at: www.magsubscriptions.com
2006 List
100
Polar Bear: Held On The Tips of Fingers (Babel)
Sebastian Rochford (d), Pete Wareham, Mark Lockheart (ts), Tom Herbert (b), Leafcutter John (programming) plus Jonny Philips (g), Ingrid Laubrock (ts), Joe Bentley (tb), Emma Smith (v) and Hannah Marshall (c). Rec. 2004-2005
Such was the brilliance of Polar Bear’s Held On The Tips Of Fingers, the band’s second release, it almost won the 2005 Mercury Music Prize. Not only the most gifted jazz drummer of his generation, bandleader Sebastian Rochford crafted sublimely original chamber music. A stylistic crossroads where folk, avant-jazz, electronica and raw punk co-existed, Rochford’s music was aptly called “the sound of the future” even though it betrayed a love of Ellington, Monk and, yes, Napalm Death. Held On The Tips Of Fingers twisted in digital trickery to a frontline of heavyweight tenor saxophonists, dazzling with folksy anthems such as ‘Bear Town’ or the drum ’n’ bass drenched ‘Fluffy’. Groundbreaking, it gave young British jazz bands the guts to label themselves like rock bands and to stretch beyond their comfort zones. (TB)
99
The Bad Plus: These Are The Vistas (Columbia)
Ethan Iverson (p), Reid Anderson (b) and Dave King (d). Rec. 2003
Very few jazz groups today set out to mess with your head. You know, get inside there, push the furniture over, chuck things out of the window and generally make a nuisance of themselves. That’s what’s so refreshing about the Bad Plus. They barge in, do things a jazz piano trio isn’t supposed to do, such as play Blondie’s ‘Heart of Glass’ or Kurt Cobain’s ‘Smells Like Teen Spirit.’ To get inside these songs, and their own well thought-out originals, they may inflict a bit of grievous bodily harm on the musical structures, but at least they give you a musical experience you won’t forget easily. (SN)
98
Courtney Pine: Journey To The Urge Within (Antilles)
Courtney Pine (ts, ss, b-cl), Kevin Robinson (t), Ray Carless (bar s), Orphy Robinson (vb), Julian Joseph (p), Roy Carter (ky), Gary Crosby (b), Mark Mondesir (d), Cleveland Watkiss and Susaye Greene (v). Rec. 1986
Journey to the Urge Within heralded the arrival of Courtney Pine at the head of a new generation of British jazz musicians. A pied piper who led British jazz out of the trough of despond after its brilliant flowering in the 1960s, he was compared to the charismatic Wynton Marsalis in the USA as a spokesman for a new breed of technically accomplished young jazzers. Pine’s music was powerful, intense and in the tradition of the great tenor saxophonists such as Coltrane and Rollins. Figuring in the Top 40, an unprecedented achievement for a British jazz album, it went silver, helping to trigger the 1980s jazz boom. (SN)
97
Tomasz Stanko: Soul Of Things (ECM)
Tomasz Stanko (t), Marcin Wasilewski (p), Slawomir Kurkiewicz (b) and Michal Miskiewicz (d). Rec. 20I01
It could have been Stanko masterpieces Litania or Leosia that made this list, but Soul of Things, with a trio of young Polish musicians he mentored since their early teens, is his best selling album for ECM and more than any other brought him to the attention of international audiences. It also contributed to the growing awareness outside Europe, particularly in the United States, that important music was coming out of the old world. An album of precisely focused moods, fragments of melody are crafted into masterful compositions shaped by the timeless elegance of Stanko’s trumpet and the copacetic playing of his young protégés. (SN)
Buy album from Presto Music
96
Medeski, Martin and Wood: Combustication (Blue Note)
John Medeski (ky), Chris Wood (b), Billy Martin (d) and DJ Logic. Rec. 1998
Since the group’s formation in 1992, many welcomed Medeski Martin and Wood as a flight from a largely conservative jazz mainstream while others believed they’d flown the coop entirely. In their own way this Hammond B-3 organ trio of the sort that has been around in jazz for at least 50 years pushed at the boundaries of jazz with rollicking grooves and extended keyboard improvisations. This might be edgy music, but it is body music just the same, try ‘Coconut Boogaloo’ or ‘Sugar Craft’ then see if you can stop popping your fingers. As they reveal here, they delight shaking up mainstream values by going back to the chicken shack, 21st century style. (SN)
95
Wynton Marsalis: Black Codes From The Underground (Columbia)
Wynton Marsalis (t), Branford Marsalis (ss, ts), Kenny Kirkland (p), Charnett Moffett (b) and Jeff Watts (d). Rec. 1985
Black Codes marks the time in young Wynton’s career when he moved from being a Blakey/Hancock prodigy and started to stake out his own ground. This first batch of musical territory had already been trampled underfoot by various members of the Miles Davis and John Coltrane ascendancy, including both leaders, but Marsalis brings his own considerable musical personality to bear on the situation and plays with great invention throughout. He would shift from this base in future but this sets out his aesthetic stall nicely. (KS)
94
Cassandra Wilson: Blue Light ’Til Dawn (Blue Note)
Cassandra Wilson (v), Charlie Burham (vn), Brandon Ross, Gib Walton, Chris Whitley (g), Kenny Davis, Lonnie Plaxico (b), Kevin Johnson, Lance Carter, Cyro Baptista and Bill McClellan (d, perc) plus others. Rec. 1993
Female jazz vocals had gone through many false dawns between the late 1960s and the arrival of Cassandra Wilson’s blue light in 1993. Jazz and blues roots have often been vocal starting points for revivals of every type, so it’s appropriate that Wilson, with her burnished alto voice, should reach in that direction to find not only a crossover audience but establish a new consensus alongside the Great American Songbook to underpin her artistic credibility. That she has more or less continued on that path suggests it works for her on every level. It also points the way for those who follow. (KS)
93
Jan Johanssen: Jazz Pa Svenska (Megafon)
Jan Johansson (p) and Georg Riedel (b). Rec. 1962-64
A key recording that more than any other defined the Nordic Tone in jazz, a Scandinavian kind of blues that places intensity, tone, space and meaning ahead of virtuosic athleticism. Taking ages old Swedish folk melodies from Svenska Låtar and then interpreting them from a jazz perspective, Johansson’s carefully nuanced sound, the gradation of his touch, the exquisite detail of every note revealed by the meticulous recording quality captured a unique approach to jazz that has become widely influential. Players such as Mike Brecker, Tommy Smith, Jan Garbarek, Esbjörn Svensson, Tord Gustavsen all were to come under the spell of the Nordic Tone. (SN)
92
Sarah Vaughan: Sarah Vaughan (EmArcy)
Sarah Vaughan (v), Clifford Brown (t), Herbie Mann (f), Paul Quinichette (ts), Jimmy Jones (p), Joe Benjamin (b) and Roy Haynes (d). Rec. 1954
Vaughan was a by-word for vocal worship among her peers and musical associates by the late 1940s, but little she recorded before this album consistently showed her true worth to jazz. Nestled in a sympathetic small-group setting, Sassy simply blossoms into an overwhelmingly seductive artist whose complete abandonment to her own idea of line and sound gives the listener a level of ecstatic pleasure delivered only by – well, by Sassy, Ella and Billie, truth be told. She may later have equalled this in other settings, but here the gauntlet was well and truly thrown down. (KS)
91
Music Improvisation Company: Music Improvisation Company (ECM)
Jamie Muir (perc), Hugh Davies (elec), Evan Parker (ss), Derek Bailey (el g) and Christine Jeffrey (v). Rec. Aug 1970
MIC represents the point of separation between free jazz and free improv. From their perspective, a whole series of trajectories are visible – in Evan Parker’s case the use of live electronics and increasing reliance on soprano leading eventually to the Electro-Acoustic Ensemble. It marks a shift away from the creation of powerful, huge sonic edifices or of nature-imitating shapes and textures for a journey, with only a little exaggeration, into the DNA of sound itself. Less concerned with the global or cosmic, MIC explored the micro-universe through the concept of non-idiomatic improvisation. Strange, disturbing yet oddly attractive.(DH)
90
Charlie Haden: Liberation Music Orchestra (Impulse!)
Haden (b), Don Cherry, Michael Mantler (t), Roswell Rudd (tb), Bob Northern (Fr hn), Howard Johnson (tba), Perry Robinson (cl), Gato Barbieri, Dewey Redman (ts), Sam Brown (g), Carla Bley (p, arr), Paul Motian and Andrew Cyrille (d). Rec. 1969
Jazz and politics have always been entwined, but rarely in the music’s history have the links spelt out on record. The 1960s was a decade when that orthodoxy was reversed, with Charlie Haden’s debut album at the decade’s end being one of the most explicit endorsements of leftist sentiments to be found in the entire jazz world. Sentiments of any persuasion are no proof of quality, but the compositions – from Haden, Bley and Ornette Coleman, among others – are uniformly strong and the supporting cast fiercely inspired. For 40 minutes you could believe, if you wanted to. (KS)
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89
Jackie McLean: Let Freedom Ring (Blue Note)
Jackie McLean (as), Walter Davis (p), Herbie Lewis (b) and Billy Higgins (d). Rec. 1962
McLean had made by turns excellent and ambitious albums prior to this disc, but for one reason or another none of them had managed a completeness of conception that pushed him into the forefront of the music. This one made it through a combination of memorable compositions (‘Melody For Melonae’) an attitude towards musical freedom fed by the new politics of the day and a consistent commitment to all-out emotionalism that is so forceful it frankly leaves the rest of his group in the shade. He went on to make more completely satisfying albums but this one broke the mould. (KS)
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88
Joe Harriott-John Mayer Double Quintet: Indo-Jazz Suite (EMI Columbia)
Joe Harriott (as), Kenny Wheeler (t), Pat Smythe (p), Coleridge Goode (b), Allan Ganley (d), John Mayer (vn, harpsichord), Chris Taylor (f), Diwan Motihar (sitar), Chandrahas Paiganka (tambura) and Keshan Sathe (tabla). Rec. 1965
Ravi Shankar’s 1962 Improvisations, with Bud Shank, and Don Ellis’ unrecorded Hindustani Jazz Sextet from 1965 briefly pointed the way but nothing prepared you for Indo-Jazz Suite, the first full collaboration between jazz and Indian musicians that was so hip it hurt in 1966. Hailed by Melody Maker upon release as “highly provocative” it was conceived by Calcutta-born Mayer who based the pieces on the ascending and descending order of ragas with Harriott’s quintet improvising around the Indian musicians to spellbinding effect. Not as successfully integrated as their subsequent Indo-Jazz Fusions I and II, this however first put the fat in the pan for Gabor Szabo, Shakti, Trilok Gurtu, Mukta, Nitin Sawhney and the feast of Indo-Jazz that followed. (JN)
87
Django Reinhardt: Rétrospective 1934-53 (Saga)
Django Reinhardt (g), the Quintette du Hot Club de France, Loulou Gasté, Joseph Reinhardt, Emmanuel Vées (g), Louis Vola, Coleridge Goode (b), Hubert Rostaing, André Ekyan (cl), Alix Combelle (ts), Gianni Safrred (p), Aurelia de Carolis (d) and many others. Rec. 1934-1953
The great gypsy did pretty much all his recording during the pre-album age, and while he was justly honoured by the French soon after his death, most early UK vinyl releases were haphazard collations in indifferent sound. By contrast, this compact little high-quality cardsleeve box of three CDs, accompanied by a magnificent 75-page booklet in French and English which contains lavish photographs and discographical details, is by some distance the best one-step intro Django’s staggering genius. Transfers from the original 78rpm singles are magnificent and the selection of titles is absolutely on the money, from earliest Hot Club sides to his post-war experiments with shifting personnel and electrified guitars. (KS)
86
Steps Ahead: Steps Ahead (Elektra/Musician)
Michael Brecker (ts), Eliane Elias (p), Mike Mainieri (vb), Eddie Gomez (b) and Peter Erskine (d). Rec. 1983
A star-studded line-up this might have been, however, by the time they came to make their debut on an American label, Steps Ahead had forged a powerful group identity that critics were dubbing “the new acoustic fusion.” Much of this was down to a repertoire comprising original, ad hoc song forms that seldom employed straight ahead rhythms. Take ‘Both Sides of the Coin’ that uses a latin rhythm and a rondo form, whereas ‘Loxodrome’ presented an advanced contemporary vehicle for improvisation. Yet promoters would still say why not just play a 12-bar blues? Staggering really for such a perfectly poised jazz chamber group, that can take your breath away. (SN)
85
Krzysztof Komeda: Astigmatic (Polskie - Nagrania Muza)
Krzysztof Komeda (p), Tomasz Stanko (t), Zbigniew Namyslowski (as), Gunter Lenz (b) and Rune Carlson (d). Rec. 1965
Astigmatic is one of the most important contributions to the shaping of a European aesthetic in jazz composition. Stanko himself has said that this is an album that could “never have been made in America”, pointing to Komeda’s day job as a composer for more than 40 films. “Film dictates untypical construction,” Stanko has recalled. Indeed, the quintet responds to Komeda’s compositions with audible glee – there is measured intensity here but also the unmistakable glow of inspiration. (SN)
84
Anthony Braxton: For Alto (Delmark)
Anthony Braxton (as). Rec. 1969
While the song titles – dedications to innovative musicians such as John Cage, Cecil Taylor and Leroy Jenkins – gave a clear indication of where the Association For The Advancement Of Creative Musicians iconoclast was coming from, few could have seen where, or rather how far, he was going on this landmark solo recital. Braxton’s alto saxophone is like the sound of acid dripped from the beating wings of hummingbirds, a charmingly corrosive caress. Through brilliant dynamics, lyricism, harmonic invention and pure sound trickery, Braxton showed a single horn could be a complete orchestra, paving the way for similar undertakings by Sonny Rollins among others years later. Downbeat awarded For Alto five stars and called it “revolutionary.” They were right. (KLG)
83
Diana Krall: Love Scenes (Impulse!)
Diana Krall (v, p), Russell Malone (g) and Christian McBride (b).
Rec. 1997Where would female jazz vocals be today without Diana Krall? An imponderable, perhaps, especially when so many undistinguished vocalists currently populate the landscape. However, Krall is the genuine article on every level, whether you’re talking about texture, taste, integrity, inventiveness or musicianship. Whatever setting she’s chosen for herself in the past decade, it’s been apposite. Love Scenes was a trio album and presaged her massive with-orchestra crossover, but it contains all the essential Krall ingredients and is a thorough convincing artistic manifesto. No wonder people listened. (KS)
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82
Steve Coleman And Five Elements: The Tao Of Mad Phat: Fringe Zones (RCA/Novus)
Steve Coleman (as), Andy Milne (p, ky) David Gilmore (g), Reggie Washington (el b), Roy Hargrove (t), Josh Roseman (tb), Kenny Davis (b) and Junior “Gabu” Wedderburn (perc). Rec. 1993
Jazz as funk, funk as jazz: the two lexicons entwine and merge so as to lose meaning in one of the great live records of the 1990s. Coleman had already made a splash with his JMT label output yet his playing and writing are more penetrating and focused here. Snappy, stabbing, staccato rhythmic and melodic lines are repeated to trance giving the impression of a giant musical pinball machine on a rotating floor. As well as exerting a decisive influence on anyone from the F-IRE collective to Omar Sosa, Coleman has always managed to reflect something of his times. Here he captured the hyperactivity of the burgeoning Internet age and the brash self-assertion of the hip-hop generation. (KLG)
81
Eberhard Weber: The Colours of Chloë (ECM)
Weber (b, cello, ocarina), Rainer Bruninghaus (p, syn), Ack van Rooyen (flhn), Peter Giger, Ralf Hübner (d, perc), and the cellos of the Südfunk Orchestra Stuttgart. Rec. 1973
Eberhard Weber’s debut album was one of the most significant opening volleys of ECM’s arrival in the jazz world as an arbiter of modern taste. Completely devoid of any of the fashionable Americanisms of the day, its music was full of light and colour derived from European modernist classical and film traditions. As such, it offered a completely fresh pool of delights to fish in. Using his sinuous bass technique to articulate melody as no-one else had before, Weber alternated a sumptuously severe string backing with little keyboard and percussion patterns to huge atmospheric effect. Entrancing. (KS)
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80
John Surman: Tales Of The Algonquin (Deram)
John Surman (bs, ss), John Warren (bs, f), Mike Osborne (as, cl), Alan Skidmore (ts, fl), Kenny Wheeler, Harry Beckett (t, flhn), John Taylor (p), Barre Phillips, Harry Miller (b), Alan Jackson and Stu Martin (d). Rec. 1971
As much Canadian John Warren’s album as fellow baritone player John Surman’s, this record said that Surman was a star in the ascendant. So many UK jazz albums could fill this slot but this gets the vote for its ecstatic, exuberant playing from Surman and company and amazing, challenging writing from Warren. This was a glorious testament to the new-found confidence of British jazz. Warren’s success lies in the way he remains within the big band tradition but extends it by incorporating elements of free playing, driving powerful polyrhythms and complex layering of his instrumental resources. An absolute and indisputable joy. (DH)
79
Oliver Nelson: The Blues And The Abstract Truth (Impulse!)
Oliver Nelson (as, ts), Freddie Hubbard (t), Eric Dolphy (f, as, bcl), George Barrow (bar s), Bill Evans (p), Paul Chambers (b) and Roy Haynes (d). Rec. 1961
For almost all his career Nelson was a hugely talented journeyman musician who did everything well and not a great deal memorably. This is the exception. Helped by a cast that included Freddie Hubbard, Eric Dolphy and Bill Evans, Nelson delivered a set of profound meditations on the blues (including ‘Stolen Moments’) and then backed that up by playing the tenor saxophone with such force and inventiveness that he stood as an equal with the heavyweights listed above. In managing it even once he at least gave us a stone classic modern jazz blues and roots album that is free of all hard bop cliché. (KS)
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78
Betty Carter: The Audience With Betty Carter (Betcar)
Betty Carter (v), John Hicks (p), Curtis Lundy (b) and Kenny Washington (d). Rec. 1979
Listening to this album is a cathartic experience. ‘Sounds’ is a tour de force of scat through shifting tempos and meters that lasts 25 minutes where at one point, Carter, Hicks, Lundy and Washington each play in a different meter. The album highlight is ‘My Favorite Things’ taken at a brisk tempo with Hicks at his most explosive as his accompaniment blossoms into a counterline to Carter’s singing and by the coda who can say whether voice or piano predominates? To say this is one of the finest jazz vocal albums ever made is limiting; it numbers among the great contemporary jazz albums. (SN)
77
Art Tatum: The Genius of Art Tatum No.1 (Clef 1953)
Art Tatum (p). Rec. 1953
For decades Tatum was every jazz pianist’s first choice as the greatest piano of all but by the early 1950s his public profile was still minute compared with some of his contemporaries. Norman Granz decided to fix that: between 1953 and Tatum’s death in 1956 Granz recorded well over 200 selections and issued them on Clef and Verve. Tatum’s popular and critical reputation has been secure ever since, his baroque creations simultaneously exciting and terrifying the listener. This first of the series is a solo recital. All the Tatum Clefs and Verves are now available on Granz’s last-owned label, Pablo. (KS)
76
Charles Lloyd: Dream Weaver (Atlantic)
Charles Lloyd (ts, f), Keith Jarrett (p), Cecil McBee (b) and Jack DeJohnette (d). Rec. 1966
Voted “new star” by Downbeat in 1965, the emergence of the Charles Lloyd Quartet took jazz by storm in 1966, expanding musical horizons with a challenging eclectic amalgam of modal and free jazz with Eastern textures and Spanish soul. Dream Weaver also introduced Keith Jarrett and Jack DeJohnette to the world before Lloyd’s subsequent LPs Forest Flower and Love-In became two of jazz’s biggest sellers. However, this was the album that first got tongues wagging, echoing the free spirit of the psychedelic 1960s and landing them an early slot at The Fillmore. Miles noticed too, quickly snatching Jarrett and DeJohnette for his own jazz-rock experiments that ushered in the dawn of a new era. (JN)
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75
Oscar Peterson: Night Train (Verve)
Oscar Peterson (p), Ray Brown b) and Ed Thigpen (d). Rec. 1962
By 1962 Peterson’s trio was one of the top draws in jazz worldwide and Peterson himself habitually won every jazz piano popularity poll going. Why? Well, the change in 1958 from piano-bass-guitar to piano-bass-drums had allowed him room to develop the group’s leaner, grittier side and emphasise melody rather than bullish pyrotechnics. Night Train is the epitome of this approach: cool, funky, incredibly concentrated and well thought-through, it hangs together as a perfect modernist tribute to the funky roots of jazz, covering tracks from ‘C Jam Blues’ to ‘Moten Swing’ and ‘The Hucklebuck’. Canadiana Suite may be Peterson’s creative high water point, but Night Train defines him. (KS)
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74
Herbie Hancock: The New Standard (Verve)
Herbie Hancock (p), Michael Brecker (ts), John Scofield (g), Dave Holland (b), Jack DeJohnette (d) and Don Alias (perc). Rec. 1996
From the opening ‘New York Minute’ this album bursts with energy and creativity. Hancock soars and Brecker burns. Yet while the playing is exemplary, the choice of repertoire makes this album stand apart. ‘New York Minute’ is from the Don Henley album The End of The Innocence and songs by the likes of Steely Dan, Peter Gabriel, Paul Simon and Prince make this one of the first albums after 1990 to return to songs from popular culture once more as a basis for jazz improvisation. Yet they all end up as impeccable, burning New York-style jazz of the highest order and press the green light for other artists to follow suit. (SN)
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73
Roland Kirk: Rip, Rig & Panic (Limelight)
Roland Kirk (f, mzo, stritch, ts), Jaki Byard (p), Richard Davis (b) and Elvin Jones (d). Rec. 1965
Many maintain that Kirk never made the perfect album: if so, this one comes closer than any other, mostly because Elvin Jones is consistently lighting a fire under the quartet generally and Kirk in particular. The multi-reed man is also self-evidently inspired by pianist Jaki Byard’s playing and is consistently taking risks in everything he’s doing. I Talk With The Spirits, his flute album, came next and gave the world ‘Serenade to a Cuckoo’, while 1968’s Volunteered Slavery allowed Kirk to assault Burt Bacharach among others while giving him a new audience, but this one is the stone jazzer’s delight. (KS)
72
Thelonious Monk: The Genius Of Modern Music, Vol. 1 (Blue Note)
Thelonious Monk (p), Idrees Sulieman/George Taitt (t), Danny Quebec West/Sahib Shihab (as), Billy Smith (ts), Gene Ramey/Bob Paige (b) and Art Blakey (d). Rec. 1947
These early Monk sides almost sank without trace when first issued as 78rpm singles, and it was only because of a LP selection under this title in the mid-1950s that more than a handful of punters took any notice. Blue Note, though, were so into Monk that they’d done these three sessions in little more than a month, just to get the first small-group versions of ‘Round Midnight’, ‘Ruby My Dear’, ‘Thelonious’ and ‘In Walked Bud’ among others. With the possible exception of Idrees, the soloists weren’t up to the pianist’s level. Yet the miraculous Blakey is at his early best. (BP)
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71
Wayne Shorter: Speak No Evil (Blue Note)
Wayne Shorter (ts), Freddie Hubbard (t), Herbie Hancock (p), Ron Carter (b) and Elvin Jones (d). Rec. 1964
Recorded a few months into his stint with Miles, this date finds Shorter on the cusp of his mature compositional and improvisatory styles and in the congenial company of Hancock and Carter, with Elvin Jones keeping it honest at the back and Hubbard providing his usual perfect foil at the front. In a sense this is Shorter’s essay on groove, but his angularity never makes it likely that the whole album would attain that ineffable level, or that he’d even want that. Herbie, of course, would do it without him a few months later on Maiden Voyage. So? Vive le difference, we say… (KS)
Feature: Wayne Shorter – Music of the Spheres
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70
Dollar Brand (Abdullah Ibrahim): African Marketplace (Elektra/Musician)
Dollar Brand (Abdullah Ibrahim) (ss, kys, p), Gary Chandler (t), Malindi Blyth Mbityana, Craig Harris (tb), Carlos Ward (as), Jeff Jaywarrah King, Dwayne Armstrong (ts), Kenny Rogers (bs), Lawrence Lucie (bjo), Cecil McBee (b), Miguel Pomier and Andre Strobert (d, perc). Rec. 1980
Duke Ellington discovered and recorded pianist-composer Dollar Brand aka Abdullah Ibrahim in 1963 playing in a more or less conventional jazz manner, but it took a long time for the South African township music he evolved in the 1970s to be accepted outside of Africa. This album was one of the very first to be made in America and its impact was immense, its melodicism, warmth and simplicity brought something new and refreshing to the often overheated, testosterone-filled gladiatorial pit of small group improvising to established harmonic patterns. As Jelly Roll Morton had shown 50 years earlier, sometimes the best comes from a truly group effort. (KS)
69
Stan Tracey: Jazz Suite Inspired By Dylan Thomas’ Under Milk Wood (EMI/Columbia)
Stan Tracey (p), Bobby Wellins (ts), Jeff Clyne (b) and Jackie Dougan (d). Rec. 8 May 1965
Tracey is indispensable, a one-man mission statement. Here he showed how much could be achieved within the basic jazz quartet format. Reaction at the time seems to have been along the lines of where on earth did this come from? Coherent, vital and mind-stretching, Tracey’s eight pieces provide a remarkable insight into Thomas’ great work but also into the creative process itself and the myriad sources jazz could explore for inspiration. With its jaunty, picaresque tunes and assured playing that reflected Thomas’ saucy, roguish book, the album is a wonderfully humorous work that extended the boundaries in a hugely subtle way. After this, there would always be more to jazz than just blowing. (DH)
68
Esbjörn Svensson Trio: From Gagarin’s Point Of View (ACT)
Esbjörn Svensson (p), Dan Berglund (b) and Magnus Öström (d). Rec. 1999
It was not as if the Esbjörn Svensson Trio came out of nowhere. They’ve been around since 1991 refining a distinctive collective voice that prompted a name change to EST. It took the UK, who habitually look to the USA for its jazz heroes, longer than most European countries to come under their spell, but this is the album that did it. Their attachment to deeply felt melody, unhurried intensity, framed with the Nordic Tone, and the comparatively unconventional, pop-like structures of their compositions endeared them to jazz and non-jazz fans alike, in the honest humanity of their playing. (SN)
Feature EST – Three Falling Three
67
John Handy: Live At Monterey Jazz Festival (Columbia)
John Handy (as), Mike White (el vn), Jerry Hahn (g), Don Thompson (b) and Terry Clarke (d). Rec. 1965
Fresh from the Charles Mingus band, Handy tore Monterey apart in September 1965 with this startling hypnotic modal performance that got him signed to Columbia, sending shock waves out to Charles Lloyd, Gabor Szabo, Miles Davis and John McLaughlin. Rooted in the free flow of Coltrane’s classic quintet with Eric Dolphy, the two side-long pieces open with Handy’s mesmerising unaccompanied alto statement that, four decades later still sends shivers, before Hahn and White erupt into fiery flamenco, middle eastern and rock-tinged directions unheard of at the time. Little wonder that in December 1965 they were the first jazz act ever to play San Francisco’s legendary Fillmore Auditorium paving the way for The Fourth Way and the sonic zeitgeist that followed. (JN)
66
Gil Evans: The Individualism of Gil Evans (Verve)
Gil Evans (p, arr, comp) with, among others, Johnny Coles, Ernie Royal, Thad Jones, Bernie Glow (t), Frank Rehak, Jimmy Cleveland (tb), Julius Watkins, Bob Northern (Fr h), Bill Barber (tba), Steve Lacy (ss), Eric Dolphy (f, as, bcl), Wayne Shorter (ts), Garvin Bushell, Jerome Richardson (reeds), Kenny Burrell (g), Milt Hinton, Paul Chambers, Gary Peacock, Ron Carter (b) and Elvin Jones (d). Rec. 1963-4
A diffident self-promoter, Evans was only rarely coaxed into the recording studios to deliver albums that reflected fully his own musical visions away from the stars he wrapped in his sonic delights. This album is his most ambitious and deeply satisfying, covering his love of Kurt Weill, the blues, Spanish music and swaggering self-penned pieces, all of them dripping in the translucent arrangements that make you feel you’ve entered a uniquely magical musical land the moment the orchestra makes a sound. Seamlessly featuring soloists like Wayne Shorter, Johnny Coles and Phil Woods, this album is pure musical alchemy from a total original. The CD is a happily expanded version of the original vinyl, adding 27 minutes of excellent previously unreleased new music. (KS)
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65
Gerry Mulligan: Gerry Mulligan Quartet (Pacific Jazz)
Gerry Milligan (bar s), Chet Baker (t), Bobby Whitlock (b) and Chico Hamilton (d). Rec. 1952
Mulligan first made a significant contribution to recorded jazz through his arrangements for Miles’ so-called Birth of the Cool sessions for Capitol, but it was the 1952 pianoless quartet that hit the headlines and made him (as well as trumpeter sidekick Chet Baker) virtually overnight jazz celebrities. This album covers the initial (and best) sides the Mulligan Quartet cut, for Pacific Jazz, including ‘Bernie’s Tune’, ‘Freeway’ and ‘Walkin’ Shoes’, where the uncanny empathy between Mulligan and Baker is constantly underlined by the firmly resilient beat of Chico Hamilton. West coast jazz in its infancy and at its most joyously infectious. This is a Japanese CD reissue which more than doubles the original vinyl playing time. (KS)
64
Brad Mehldau: Art Of The Trio Vol.3 (Warner)
Brad Mehldau (p), Larry Grenadier (b) and Jorge Rossy (d). Rec. 1998
Voted best jazz album of 1998 by The Guardian and part three of a musical odyssey that comprises five volumes stretching from 1996-2000. More so than his previous albums, this was the one that put him on the map, as much for a version of ‘Exit Music (For A Film)’ that turned Radiohead into Beethoven as his deeply haunting version of Nick Drake’s ‘River Man’ that hipped a legion of young jazzers to two fresh new sources of repertoire. Here Mehldau’s improvisations appear as variations upon variations upon variations, remote from their source maybe but entirely personal. In the process they lay to rest Bill Evans soundalike comparisons once and for all. (SN)
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63
Archie Shepp: Four For Trane (Impulse!)
Archie Shepp (ts, arr), Alan Shorter (flhn), Roswell Rudd (tb), John Tchicai (as), Reggie Workman (b) and Charles Moffett (d). Rec. 1964
Shepp was a member of Cecil Taylor’s 1960/1 unit that cut sides for Candid and Impulse!, but his first mature playing on disc is on the virtually unobtainable 1962 Archie Shepp – Bill Dixon Quartet album released on Savoy. Four For Trane demonstrates not only a shift in allegiance to Coltrane but a real gift for arrangement and a thoroughly original approach to his own playing at a time when everyone was copying Trane or Rollins. He may have got more radical later, but this was a 100 per cent proof shot of the new on its initial release. (KS)
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62
Count Basie: The Atomic Mr Basie (Roulette)
Count Basie (p), Thad Jones, Joe Newman, Wendell Culley, Snooky Young (t), Benny Powell, Henry Coker, Al Grey (tb), Marshall Royal (as, cl), Frank Wess (as, ts), Frank Foster, Eddie “Lockjaw” Davis (ts), Charlie Fowlkes (bar s), Freddie Green (g), Eddie Jones (b), Sonny Payne (d) and Neal Hefti (arr). Rec. 1957
First issued simply as Basie and illustrated with “a tasteful” mushroom cloud it certainly had an explosive enough impact as it was his first album to capture the rich ensemble sound as well as the beat. Some of the charts wear better than others, but the overall feel is timeless. ‘Kid From Red Bank’ featuring stride piano from the leader and ‘Whirly-Bird’’s shouting tenor saxophone by Lockjaw epitomise the uptempos, while ‘Splanky’ and Newman-and-Thad’s ‘Duet’ do it for the blues. And ‘Li’l Darlin‚’ proves emphatically that smoochy doesn’t have to mean smoo-ooth. (BP)
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61
Miles Davis: Birth of the Cool (Capitol)
Miles Davis (t), Lee Konitz (as), Gerry Mulligan (bar s), JJ Johnson (tb), Kai Winding (tb), Junior Collins (Fr hn), Gunther Schuller (Fr hn), Sandy Siegelstein (Fr hn), Billy Barber (tba), John Barber (tba), Nelson Boyd (b), Joe Shulman (b), Al McKibbon (b), Al Haig (p), John Lewis (p), Kenny Clarke (d), Max Roach (d), Gil Evans (arr), Johnny Carisi (arr) and Kenny Hagood (v). Rec. 1949-50
The wonder of Miles’ career is the sheer amount of times he seized the moment, grabbed the right people, and got them to deliver their best creative thoughts for him. The first time was with Charlie Parker, but by the time he landed a contract with Capitol for some modern jazz sides with an augmented group, he was able to operate freely, pulling in the restless writing talents of Gil Evans, John Lewis, Gerry Mulligan and John Carisi to create a unified and superbly subtle backdrop for his emergent lyricism. The world is changed, part one. (KS)
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60
Peter Brötzmann Octet: Machine Gun (FMP)
Peter Brötzmann (ts, bar s), Evan Parker, Willem Breuker (ts), Fred Van Hove (p), Peter Kowald, Buschi Niebergall (b), Han Bennink and Sven Johansson (d). Rec. May 1968
Political statement, samizdat reflection on events or Janovian primal scream? Surely one of the most extreme albums ever recorded it’s a musical manifesto from the European free jazz underground, an answering call to like-minds across the Atlantic and rallying cry for those at home. The title track features “solos” by the three horn players and pianist Van Hove, each as ferocious as the other. ‘Responsible’, for all its atonal howling, ends with a fabulous latin vamp while ‘Music For Han Bennink’ squeals and yelps with joy. Machine Gun leaves you shaken to the core. (DH)
59
Coleman Hawkins: Body And Soul (RCA Bluebird)
Hawkins (ts) and many others. Rec. 1939-56
The trouble with Hawk is the same one faced by someone looking for an ideal single-set introduction to maverick genius Sidney Bechet – in such a long and protean career, how do you get all the best bits on one label? With Bechet it’s still impossible. With Hawk, you can just about do it. The great man’s original ‘Body And Soul’ masterpiece from 1939 is here, plus a telling number of tracks showing how he paced all the changes in jazz with ease and continued to grow artistically through the decades. The best of the later Hawk is on Verve, but this intro is nicely rounded. (KS)
58
Clifford Brown/Max Roach Quintet: Clifford Brown and Max Roach (EmArcy)
Brown (t), Harold Land (ts), Richie Powell (p), George Morrow (b) and Max Roach (d). Rec. 1954
Timing is everything. For two years this group was the cutting edge of modern jazz: by spring 1956 they had Sonny Rollins as the resident tenor alongside Clifford Brown’s dazzlingly innovative trumpet: Miles and Coltrane were still playing catch-up in their quintet. Then, a car crash claimed Brown and pianist Richie Powell and it was all over. This powerful set, containing classic interpretations of post-bop standards such as ‘Daahaud’, ‘Joy Spring’ and ‘Parisienne Thoroughfare’ is still the starting-point for post-Parker bop and mandatory listening for any subsequent trumpeter. The CD contains two alternative takes adding 10 more minutes of music. (KS)
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57
Horace Silver: Song For My Father (Blue Note)
Silver (p), Blue Mitchell, Carmell Jones (t), Junior Cook, Joe Henderson (ts), Gene Taylor, Teddy Smith (b), Roy Brooks and Roger Humphries (d). Rec. 1963-64
For the five years he held his Junior Cook-Blue Mitchell quintet together, Silver had the perfect combination of his high-quality tunes and a band that had a magic interpretative touch. They all played for each other to such an extent that the group became one of the true 1960s greats. Song For My Father features this group on two tracks, but not on the famous title tune, which instead ushers in the brilliant but short-lived quintet featuring Joe Henderson and Carmell Jones. No cause to fear: all remains in place for a classic that still casts its spell. (KS)
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56
Art Ensemble of Chicago: A Jackson in Your House (BYG/Actuel)
Lester Bowie (t, flhn, perc), Roscoe Mitchell (ss, as, bs, cl, fl, whistles, steel drum, perc), Joseph Jarman (ss, as, cl, oboe, mba, siren, g) and Malachi Favors (b, el b, banjo, log drum and perc). Rec. 1969
A spin on a fairground carousel that nevertheless stays on the side of art rather than entertainment. This was the record that showed that the sonic riot of the avant-garde wasn’t incompatible with riotous humour. Using anything from Dixieland riffs to bluesy drawls to classical intermezzi, AEoC create a mix-tape in which tempo, mood and idiom become shifting sands on a strange and beautiful landscape. Imagine William Burroughs cutting up sheet music instead of text and having skilled players somehow make the fragments sound coherent. A deeply subversive but sophisticated work that must have been highly informative to anyone from Zappa to Zorn. (KLG)
55
John Coltrane: Ascension (Impulse!)
Coltrane (ts), Freddie Hubbard, Dewey Johnson (t), John Tchicai, Marion Brown (as), Archie Shepp, Pharoah Sanders (ts), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1965
Still an unruly, flawed, controversial, and deeply divisive album 40 years after its initial release, Ascension set the pace and the tone of the avant-garde music debate right through the back of the 1960s, quickly becoming a cutting-edge touchstone across the arts – even John Lennon told interviewers “of course I’ve heard Ascension” when asserting his late 1960s intellectual credentials alongside Yoko. Today, the music remains testingly difficult, the hell-hot fire and chaos from Trane’s supporting musicians a clear indication of the times it was made in, yet it’s a titanic date that changed jazz forever. (KS)
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54
Lester Young: Lester Young/Buddy Rich Trio (Verve)
Young (ts), Nat King Cole (p) and Buddy Rich (d). Rec. 1946
Young was past his creative peak by the time vinyl LPs became the norm for recording purposes, but luckily a young Norman Granz snuck this session in during 1946 while Young was signed elsewhere, then sat on it until he signed Young himself in 1952. It catches Young in absolute peak mid-career form, accompanied by Nat King Cole on piano and Buddy Rich on drums. With the spotlight for once firmly on Young himself, the intimate date exhibits all Young’s soul, elusive melodic and rhythmic invention, down-home drive and unearthly delicacy and shows just why he was Charlie Parker’s early idol. (KS)
53
Pharoah Sanders: Karma (Impulse!)
Sanders (ts) Leon Thomas (v, perc), James Spaulding (fl), Julius Watkins (Fr hn), Lonnie Liston Smith (p), Richard Davis, Reggie Workman, Ron Carter (b), Freddie Waits, William Hart (d) and Nathaniel Betis (perc). Rec. 1969
What a sleeve! The saxophonist’s meditative pose against a hazy burnt orange sun posits Karma as a healing sound for love children alarmed by the bomb, the bullet and the ballot. Coming out of the universal consciousness of mentor John Coltrane and borrowing some of the celestial majesty of his widow Alice, Sanders gets modal-hymnal on the enduring ‘The Creator Has A Master Plan’ and dazzlingly abstract on ‘Colors’. These heady cosmic grooves fed the creative fire of anyone from Roy Ayers to Lonnie Liston Smith in the 1970s and inspired the more discerning purveyors of pro-tools instrumental music such as The Cinematic Orchestra in the millennium. (KLG)
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52
John McLaughlin: Extrapolation (Marmalade)
John McLaughlin (g), John Surman (bs, ss), Brian Odges (b) and Tony Oxley (d). Rec. 1969
The 1960s was a decade when British jazz emerged with a strong identity with classic albums from the likes of Mike Westbrook, Michael Garrick, Don Rendell-Ian Carr Quintet and Mike Gibbs to name but a few. But Extrapolation is the most prophetic, not only as a stepping stone in McLaughlin’s career – from Extrapolation to Tony Williams’ Lifetime to Bitches Brew to the Mahavishnu Orchestra are indeed surprisingly small strides – but for how change in jazz in the late 1960s and early 1970s would shape up. This mixture of freedom (often “time, no changes”) and structure as well as the increasing sense of identity in McLaughlin’s playing framed by Surman and Oxley make for compelling listening. (SN)
51
John Zorn: Naked City (Elektra/Nonesuch)
John Zorn (as), Bill Frisell (g), Wayne Horvitz (ky), Fred Frith (b) and Joey Baron (d). Rec. 1989
This is a superb example of post modern jazz. Zorn, the arch post modernist, expropriated practices, fragments and signifiers of different, sometimes alien music and relocated them within his own brash expressionism. Thus there’s fleeting references to jazz, blues, surf guitars, film noir moods, country music plus short, sharp noise shocks all made possible by Bill Frisell’s versatile guitar. Using segue-like channel zapping on TV, one mood is thrust in harsh disjunction with another. The only thing certain about postmodernism is uncertainty, so we should pay attention to this music, because uncertainty in an uncertain world is shaping all of us. (SN)
50
Lennie Tristano: Tristano (Atlantic)
Tristano (p), Lee Konitz (as), Peter Ind, Gene Ramey (b), Jeff Morton and Art Taylor (d). Rec. 1955
Theorist, teacher, creative thinker and virtuoso pianist, Tristano had advanced and very firmly held views about what constituted good playing practice. He expected his musicians to adhere to such views and accept whatever discipline he imposed. That it worked for others can be heard in Lee Konitz and Warne Marsh, and that it was influential can be discerned through Bill Evans’s absorption of Tristano’s methods. But Tristano’s own audience remained tiny, this Atlantic album containing his moving elegy to Charlie Parker, ‘Requiem’, and his controversial multi-tracking of his own piano lines, ‘Line Up’, providing a brief moment when everyone sat up and took notice. (KS)
49
Dizzy Gillespie: Shaw ’Nuff (Musicraft)
Gillespie (t), Charlie Parker, Sonny Stitt (as), Dexter Gordon (ts), Clyde Hart, John Lewis, Frank Paparelli (p), Milt Jackson (vb), Chuck Wayne (g), Ray Brown, Curly Russell, Slam Stewart (b), Sid Catlett, Kenny Clarke, Cozy Cole, Shelly Manne (d) and Sarah Vaughan (v) plus many others. Rec. 1945-6
Those who only know Gillespie from his 1950s efforts onwards can have no conception as to the veritable force of nature his trumpet playing was in the 1940s. This CD collation of the earliest sides under his leadership, made for tiny labels such as Guild and Musicraft, will have your jaw sagging in amazement as he consistently delivers ideas that top even those of Parker. Just to keep it interesting, Gillespie also wrote some of the most enduring bop anthems, and many of them get their first outings here. These sessions, like the Parker Savoys, are the holy tablets of bop. (KS)
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48
Sun Ra: The Heliocentric Worlds of Sun Ra Volume 1 (ESP-Disk)
Sun Ra (p, mba, cel, perc), Chris Capers (t), Teddy Nance (tb), Bernard Pettaway (b tb), Danny Davis (f, as), Marshall Allen (picc, as, perc), Robert Cummings (bcl, perc), John Gilmore (ts, perc), Pat Patrick (bs, perc), Ronnie Boykins (b) and Jimhmi Johnson (perc). Rec. 1965
Ra had been making albums for his own label Saturn for a decade by the time this one slipped out via ESP-Disk, but this was the first to make a wide impact due not only to the unprecedented nature of the music (some tracks sound closer to Tibetan Buddhist music than anything being played in the America at the time) but also to the fact that ESP-Disk, a tiny label making a big noise at the time, actually got distributed outside of Chicago and New York and even made a splash internationally. Ra was on the vinyl map and never looked back. Next stop, Jupiter. (KS)
47
Sonny Rollins: The Bridge (RCA Victor)
Rollins (ts), Jim Hall (g), Bob Cranshaw (b), Ben Riley and Harry Saunders (d). Rec. 1962
There is a curious reluctance for some to acknowledge that Rollins came back from his 1959-61 voluntary exile a more complete and fascinatingly complex musician. The Bridge is enduring testimony to that fact: he has shed all stylistic baggage, leads from the front, plays with a new poise and freshness and with a unique identity that has stayed intact up to the present day. Although late-50s Rollins may be the stuff to get the critics panting, this was the template for all future Rollins creative ventures, whether they be avant-garde or retro or just plain Sonny. Unbeatable music. (KS)
Feature Sonny Rollins: Albums That Shook The World
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46
Andrew Hill: Point of Departure (Blue Note)
Hill (p), Kenny Dorham (t), Eric Dolphy (f, as, bcl), Joe Henderson (ts, f), Richard Davis (b) and Tony Williams (d). Rec. 1964
Hill’s is of course a multi-faced talent – a brilliant pianist and improviser, he is also one of jazz’s outstanding composer-arrangers. This album emphasises the latter talents: he uses his highly personal sense of composition and instrumental colour much as Jelly Roll Morton did back in the late 1920s, bringing out sensational new sonorities and ideas between the select group of musicians he is using here and goading them to some of their most eloquent playing, individually and collectively. When those musicians include the front line we have here, that makes for some very special music indeed. Depending on which CD version you come across this can be a straight version of the vinyl original or contain two extra alternative takes. (KS)
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45
John Coltrane: Impressions (Impulse!)
Coltrane (ss, ts), Eric Dolphy (bcl, as), McCoy Tyner (p), Reggie Workman, Art Davis, Jimmy Garrison (b) and Elvin Jones (d). Rec. 1961 and 1963
This was Coltrane’s second scoop into the Aladdin’s cave of music he’d made at the Village Vanguard in November 1961. The first, released as At The Village Vanguard in 1962, had whipped up a storm of criticism and, through the blues ‘Chasin’ The Trane’, served notice to a new generation about the music to come. This one went even further – India threw open the floodgates to the east in jazz, while ‘Impressions’ is 14 minutes of solid gold inspiration from Trane and Elvin. The 1963 studio fillers, ‘Up Against The Wall’ and ‘After The Rain’, are two exquisite musical punctuation points. (KS)
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44
George Russell: The Jazz Workshop (RCA Victor)
George Russell (comp, arr, boombams), Art Farmer (t), Hal McKusick (as, f), Barry Galbraith (g), Bill Evans (p), Milt Hinton, Teddy Kotick (b), Joe Harris, Paul Motian and Osie Johnson (d). Rec. 1956
One of the most important jazz albums ever. Using just six players, Russell achieves wonderful orchestral textures within these 12 compositions, thanks partly to guitarist Galbraith, and introduces the world to modal jazz (and Bill Evans) en route. Strange new harmonies, polyrhythms, pantonality and extended composition – with Russell and Gil Evans, jazz just became a complete new zone of potentialities. More influential on the jazz community directly, on Miles, Coltrane and Oliver Nelson, than through its sales, this is the one that so many musicians still check out. A masterpiece of small group playing and a masterclass on the role of composition in the music. (DH)
43
Miles Davis: Sketches Of Spain (Columbia)
Davis (t, flhn), orchestra and Gil Evans (cond, arr). Rec. 1960
Miles already had two bona-fide large-group masterpieces for Columbia down in the plus column with Miles Ahead and Porgy & Bess by the time he and Gil Evans assembled this finely-drawn re-workings of classical pieces of music generally associated with Spain. At its core is the brooding central movement from Rodrigo’s Concierto de Aranjuez, but the poignant lyricism and incandescent colours Miles and Gil invest the other pieces, including a rare Evans original, with a singularity of vision and intent that makes this a burningly bright and unified achievement. Once more they’d broken the mould, for themselves and everyone else. (KS)
Review Miles Davis – Sketches Of Spain (50th Anniversary Edition) ★★★★★
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42
Stan Getz: Focus (Verve)
Getz (ts), Roy Haynes (d), chamber string group and Hershey Kay (cond). Rec. 1961
Nothing in the history of jazz soloist-plus-strings recordings could prepare the uninitiated listener for what this album delivers. Getz’s commission to his favourite arranger/composer Eddie Sauter was completely open-ended. What Sauter delivered was a suite that stood up as music independently of anything Getz might add melodically but that left him plenty of room to create the most gorgeous tapestry of sound and emotion, interweaving between all the richness of Sauter’s lean, expressive scores. Focus stands in glorious isolation even within the jazz tradition but is a certifiable classic within the genre that others still cite in awe. (KS)
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41
Chick Corea: Return To Forever (ECM)
Corea (el p), Joe Farrell (f, ss), Stanley Clarke (el b), Airto Moreira (d, perc) and Flora Purim (v). Rec. 1972
By the time he made this date, Corea had worked his way through a heavy avant-garde phase and out onto the sunlit plains of his own latin-based musical imagination. It had always been there in his music, but now, marrying the élan and high spirits of Flora Purim and Airto with his own naturally ebullient and melodically uplifting inclinations, Corea suddenly not only stepped forward himself past the stentorian gloom and machismo of the other fusioneers of the day, but redefined exactly what latin jazz should be about. Intoxicating music played by masters makes this an era-defining milestone. (KS)
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40
Billie Holiday: At JATP (Clef/Verve)
Holiday (v), Howard McGhee, Buck Clayton (t), Trummy Young (tb),Willie Smith (as), Illinois Jacquet, Wardell Gray, Coleman Hawkins, Lester Young (ts), Milt Raskin, Ken Kersey, Tommy Tucker (p), Charles Mingus, Al McKibbon (b), J.C. Heard and Jackie Mills (d). Rec. 1945-47
People call Billie Holiday THE voice of jazz. However, her discography on vinyl is convoluted: her 1930s 78rpm output, where she was normally a featured singer rather than the star, had to wait until the 1960s to appear in any ordered way and the 1990s to appear substantially on CD. Ditto her 1940s Deccas. By the time she settled with Verve in 1952 her voice had darkened and lost its suppleness. This set of live performances from the mid-40s, however, finds her in good musicianly company, vocally at a peak and expressively in the mood to sweep all before her across a classic selection of material, including ‘Strange Fruit’ and ‘Billie’s Blues’. The CD configuration more than doubles the amount of material originally available on vinyl, though the sound quality on some of the “new” tracks is not exactly brilliant. (KS)
39
Tony Williams Lifetime: Emergency! (Polydor)
Tony Williams (d), Larry Young (org) and John McLaughlin (g). Rec. 1969.
This bold attempt to expand the boundaries of jazz in a dramatic jazz, blues, rock, Hendrix, MC5 amalgam left temperate listeners shell shocked and critics speechless. Today, the mere mention of jazz-rock prompts cries from establishment critics of “sell-out,” but if this is selling-out, then maybe they should consider another line of work. This is jazz, rhythm and electricity writ large in a tumbling roller coaster of ideas. No wonder the album was called Emergency, with every member of the band having so much to say but so little time to say it. (SN)
38
Cannonball Adderley: Somethin’ Else (Blue Note)
Adderley (as), Miles Davis (t), Hank Jones (p), Sam Jones (b) and Art Blakey (d). Rec. 1959
Adderley was about to push into the soul-jazz era when he made this one-off for Blue Note. In a sense it was a vale to what had passed between the altoist and Miles Davis during the time they shared the bandstand in the Miles Davis Sextet, complete with Miles’ compulsive borrowings from Ahmad Jamal and the delicate balance struck between the beautiful simplicity of the emerging modernist simplicity and Cannon’s natural ebullience. Miles got the altoist to shine through ballads and burnished blowing throughout, complementing in fine style while the rest of the crew kept a discreet distance. The Blue Note RVG version contain an extra track from this session. (KS)
Review Cannonball Adderley – Somethin' Else
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37
Charles Mingus: The Black Saint And The Sinner Lady (Impulse!)
Rolf Ericson, Richard Williams (t), Quentin Jackson (tb), Don Butterfield (tba), Jerome Richardson (fl, ss, bar s), Dick Hafer (fl, ts), Charlie Mariano (as), Jaki Byard (p), Jay Berliner (g), Charles Mingus (b, p) and Dannie Richmond (d). Rec. 1963
Maybe you have to acquire a taste for Mingus before getting to this, but I’ve known people with significant non-Mingus backgrounds fall headlong for it at first hearing. Whether you come from Ellington or from Coltrane or from blues-bands, there’s stuff from this almost continuous suite to captivate you. Even techno fans – no sampling as such – will find early creative use of editing, recycling and overdubbing. Even more creative is the work of soloists such as Jackson, Byard and the amazing Mariano (later of ECM and all points east), and the unaccompanied flamenco guitar part apparently written note-for-note by Mingus himself. (BP)
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36
Ella Fitzgerald: Sings The Cole Porter Songbook (Verve)
Fitzgerald (v) and the Buddy Bregman Orchestra. Rec. 1956
Norman Granz had long cherished the ambition to have Ella recording for his label but had to wait until 1956 to make the signing. His first project for her was to record as many Cole Porter songs as they could lay their hands on in large ensemble style and release them (initially as volumes one and two) on an unsuspecting but quickly enraptured public. The idea caught on and Ella kept doing composer songbooks well into the 1960s. Nobody did it better, even though it could be said that Sinatra’s studious avoidance of such anthologies produced the greater individual legacy. (KS)
Feature Ella Fitzgerald: essential recordings
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35
Duke Ellington: Ellington At Newport (Columbia)
Ellington (p), Willie Cook, Ray Nance, Clark Terry, Cat Anderson (t), Britt Woodman, Quentin Jackson, John Sanders (tb), Johnny Hodges, Russell Procope (as), Jimmy Hamilton (cl, ts), Paul Gonsalves (ts), Harry Carney (bar s), Jimmy Woode (b) and Sam Woodyard (d). Rec. 1956
Ellington often acknowledged that the 1956 Newport Jazz Festival offered him a virtual rebirth in terms of his in-person and recording career but there is little doubt as to why. Apart from the on-site near-riot after the conclusion of ‘Diminuendo And Crescendo in Blue’, this is a well-paced record for a lounge-chair audience wanting to know what the excitement was all about. The fact that 60 per cent of the original (including just about all of The Festival Suite) was recorded in the studio in the following days due to onstage microphone problems was only confirmed decades later. The original vinyl had just three tracks: this was also the original CD configuration. A later two-CD version combines much improved sound with the complete festival appearance, plus studio extras. (KS)
Feature: Such Sweet Thunder: inside Duke Ellington's literary world
34
Woody Herman: The Thundering Herds (Columbia)
Herman (cl, as, v) Sonny Berman, Pete Candoli, Conte Candoli, Shorty Rogers, Conrad Gozzo, Ernie Royal (t), Bill Harris (tb), Sam Marowitz, John LaPorta, Flip Phillips, Pete Mondello, Herbie Steward, Stan Getz, Zoot Sims, Serge Chaloff (reeds), Margie Hyams, Red Norvo (vb), Ralph Burns, Jimmy Rowles (p), Billy Bauer, Chuck Wayne (g), Chubby Jackson (b), Dave Tough and Don Lamond (d). Rec. 1945-47
The 1945-47 Herman bands – they came to be known as the First and Second Herds – were 1940s big band punk, high on their own adrenalin, testing all the boundaries and playing stampeding music that remains some of the most exciting of the last fifty years, whatever the genre: these guys took the sophistication of Ellington, grafted it on to the bone-chilling excitement of the Gillespie big band soloists and anchored it with the insanely swinging rhythm section of bassist Chubby Jackson and drummer Dave Tough. This set, first pulled together on vinyl in the 1960s and re-jigged many times on LP and CD since, preserves the best of a truly great big band and its leader. (KS)
33
Jan Garbarek: Afric Pepperbird (ECM)
Jan Garbarek (ts, fl), Terje Rypdal (g), Arild Andersen (b) and Jon Christensen (d). Rec. 1970
From the opening track ‘Scarabee’, the jazz world outside Scandinavia was introduced to a Nordic sensibility in jazz, the Nordic Tone. Intensity, meaning and space are essential to understanding what is probably the most misunderstood approach to jazz improvisation. Garbarek combines the intensity of Albert Ayler and the economy of Dexter Gordon but reinscribes them with Nordic folkloric allusions, to produce, in producer Manfred Eicher’s words “an alternative to the American approach to jazz,” an approach he champions to this day. (SN)
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32
Jimmy Smith: A New Sound, A New Star (Blue Note)
Smith (org), Thornel Schwartz (g), Bay Perry and Donald Bailey (d). Rec. 1956
It’s that simple: Jimmy Smith invented modern jazz organ and this is the album (in fact, volume one of two quickly-released volumes recorded at the same February 1956 sessions) where he announced his arrival. From the off, Blue Note was looking for commercial success and his version of ‘The Champ’, though not the first Jimmy Smith Blue Note single (on Volume two rather than Volume one), delivered big time. By then the first album had delivered a blues-plus-bebop blueprint for the jazz organ trio that Smith would subsequently develop, refine and occasionally revise, but that stayed remarkably consistent in content and quality over the next decade. (KS)
31
Pat Metheny: Bright Size Life (ECM)
Pat Metheny (g), Jaco Pastorius (b) and Bob Moses (d). Rec. 1975
The first blooming of Metheny’s great talent as a recording artist in his own right came with this stunning trio which he led while teaching at Berklee School of Music and a member of Gary Burton’s group of the day. At this stage of career (he was 21) Metheny indulged Pastorius somersaulting on to the stage and doing back flips off his speaker cabinet, and this mixture of Pastorius’ exuberance and Metheny’s intensity, moderated by the impeccable taste of Bob Moses lends a freshness to this album that makes it seem as if it were recorded yesterday. (SN)
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30
Stan Getz/Joao Gilberto: Getz/Gilberto (Verve)
Getz (ts), Joao Gilberto (v, g), Antonio Carlos Jobim (p), Tommy Williams (b), Milton Banana (perc) and Astrud Gilberto (v). Rec. 1963
Funnily enough, this spring 1963 session was close to Getz’s last serious stab at bossa nova – he’d already had massive success with Jazz Samba and Jazz Samba Encore – but it turned out to be the musical perfection perhaps no-one had actually been looking for but everyone instantly recognised on the album’s release. This is perhaps the coolest, most definitively etched marriage of melody and latin rhythm ever achieved, and it was achieved by the towering genius of Tom Jobim’s tunes and spare piano accompaniment, Gilberto’s uniquely intimate voice and guitar, a rhythm section that breathes life and colour, all of it topped by the supreme melodist, Stan Getz. All that plus Joao’s wife Astrud as a last minute show stealer and you have a classic on your hands. (KS)
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29
Herbie Hancock: Maiden Voyage (Blue Note)
Freddie Hubbard (t), George Coleman (ts), Herbie Hancock (p), Ron Carter (b) and Tony Williams (d). Rec. 1965
A classic jazz album produced at a time when such albums seemed to be coming out every other day. Essentially the Miles Davis Quintet of the day with Hubbard pinch hitting for Davis (and playing as well as he would at any point of career) it contained two Hancock originals that would assume quickly the status of jazz standards. The binary 34-bar ‘Dolphin Dance’ and the modal 32-bar ‘Maiden Voyage’, with its pre-arranged rhythmic structure that is maintained throughout, will probably be played as long as jazz itself. Add to that ‘Little One’, previously recorded by Davis on ESP, and you have the concept album to end all concept albums. (SN)
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28
Art Blakey: Moanin’ (Blue Note)
Blakey (d), Lee Morgan (t), Benny Golson (ts), Bobby Timmons (p) and Jymie Merritt (b). Rec. 1958
Blakey was in on the ground floor when it came to the evolution of hard bop into soul jazz, having co-led the first Jazz Messengers with Horace Silver back in 1956. By 1958 he’d gone through a number of versions of the band, with this becoming the blueprint version for the next half a decade. With Benny Golson and Bobby Timmons supplying hard bop anthems such as the title tune, ‘Along Came Betty’ and ‘Blues March’, and the front line soloists refining their long, elaborate post-bop lines into the shorter and more pithy soul-based hard bop lines of the late 1950s, this Blakey band, and this Blakey album, defined soul jazz. (KS)
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27
Cecil Taylor: At The Café Montmartre (Debut)
Taylor (p), Jimmy Lyons (as) and Sunny Murray (d). Rec. 1962
Taylor had been a thorn in the modern US jazz world’s side since the mid 1950s with his uncompromising approach to music-making, but up until this live date recorded in Copenhagen by the Danish Debut label he’d not made the decisive steps into free playing that would revolutionise the very basis of jazz rhythm. Here, Taylor, Lyons and Murray race pell-mell into music without metric boundaries, throwing open a Pandora’s box of possibilities that would be investigated intensely by every jazz avant-gardist worldwide for the next 20 years. Additionally, Taylor’s supercharged playing on this date was the first glimpse on record of his ability to sustain such white heat over Coltrane-like stretches of playing time. (KS)
26
Bud Powell: The Genius of Bud Powell (Clef/Verve)
Powell (p), Ray Brown (b) and Buddy Rich (d).
Rec. 1950-51Two Herculean trio tunes – ‘Tea For Two’ and ‘Hallelujah’, both taken at breakneck speeds – make up the 1950 contribution here. With the benefit of extra CD space we get treated to two extra takes of ‘Tea For Two’, giving us an object lesson in how Powell developed his material as well as maintaining his incredible improvisational creativity. But the real jewels on this album are the eight solo selections recorded in February 1951. The level of invention Powell achieves puts this recital on equal par with anything in the recorded annals of jazz piano and makes it basic required jazz listening. (KS)
25
Modern Jazz Quartet: Fontessa (Atlantic)
John Lewis (p), Milt Jackson (vb), Percy Heath (b) and Connie Kay (d). Rec. 1956
It’s difficult at this distance, with so much noise and fury intervening, to credit the radicalism of John Lewis’ brief for the Modern Jazz Quartet, but back in 1956 they were doing stunningly new things in jazz in just about every musical area – form, content, arrangement, interplay and theory. They also had a secret weapon in that all four musicians were steeped in the blues and could wail whenever they needed to, thus obviating any tendency to effete noodling when things got a little formal. Fontessa was their first for Atlantic with the fully integrated line-up including Connie Kay: it delivered a perfect blueprint for the many MJQ advances of the next decade. (KS)
24
Wes Montgomery: The Incredible Jazz Guitar of Wes Montgomery (Riverside)
Wes Montgomery (g), Tommy Flanagan (p), Percy Heath (b) and Albert Heath (d). Rec. 1960
Wes Montgomery simply played differently from all the others. He picked the strings with his thumb instead of a plectrum, creating a fresh, warm sound – sensitive on ballads but incisive on fast tempos. His solos would move through three stages, beginning with single-line improvisation, then shifting up a gear with passages in unison octaves, before building to a climax with lines stated in block chords. The effect was stunning and like Charlie Christian two decades earlier, his innovations were to open up new possibilities for the guitar and be the inspiration for a new generation of guitar players, including George Benson, Pat Martino and Larry Coryell, who once played Wes’ own solo on ‘D Natural Blues’ to a surprised Wes. Every track on this album is a classic and his songs ‘West Coast Blues’ and ‘Four on Six’ have become part of the jazz canon. (CA)
Review Wes Montgomery – The Incredible Jazz Guitar of Wes Montgomery ★★★★★
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23
Frank Sinatra: Songs For Swingin’ Lovers (Capitol)
Frank Sinatra (v), Nelson Riddle (arr, cond) and big band. Rec. 1955-56
Sinatra the jazz singer? There are vast swathes of Sinatra recordings that could never be remotely described as jazz, but the man himself credits Tommy Dorsey and Billie Holiday as his musical mentors and, when he put his mind to it, he could phrase and swing with the best. Additionally – and crucially – he influenced just about every jazz singer and musician worthy of the name between the 1940s and today, including such people as Lester Young, Miles Davis and John Coltrane, all of whom had listened very closely indeed to Sinatra’s balladry. This classic mid-50s session puts Frankie’s jazz credentials perfectly in order and throws down the gauntlet for everyone else. (KS)
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22
Jelly Roll Morton: Volume 1 (JSP)
Morton (p, comp, arr), George Mitchell (c), Edward Kid Ory (tb), Omer Simeon, Barney Bigard, Darnell Howard, Johnny Dodds (cl), Stump Evans (as), Johnny St Cyr (bj), John Lindsay (b), Andrew Hilaire, Baby Dodds (d) and others. Rec. 1926-28
As with Sidney Bechet, it’s devilishly hard to find a single compilation of Morton that covers all the essentials. This one doesn’t quite, but does it better than most, and also does it under the auspices of remastering from original 78s by John R.T. Davies, whose expertise in this area is legendary. Morton’s miraculous flowering in this period has to be heard to be believed, with his arrangements of his own and others’ tunes so multi-faceted, so imaginative and full of incredible creative drive as to be a collective body of genius to place alongside that of Ellington and – much later – Mingus or Gil Evans. Except he did it first. (KS)
21
Ahmad Jamal: But Not For Me - At The Pershing (Argo)
Jamal (p), Israel Crosby (b), Vernell Fournier (d). Rec. 1958
Jamal’s ideas about integrated and disciplined trio interplay had already deeply influenced jazz’s inner circle of musicians while his piano-guitar-bass trio was around throughout the early 1950s. However, things went supernova-ish when this incredible unit made and released this jazz best-seller in 1958. Nobody remained untouched by his light-but-tight approach, his winningly imaginative arrangements and his incredible attention to dynamics. The highlight may have been ‘Poinciana’, but every track is an object lesson in how to draw the best from a tune. That it was no flash in the pan is shown by the music’s drawing power and continuing fascination today, as well as its ability to influence every new generation of pianists. (KS)
20
Weather Report: Heavy Weather (Columbia)
Joe Zawinul (ky), Wayne Shorter (ts, ss), Jaco Pastorius (b), Alex Acuña (d) and Manolo Badrena (perc). Rec. 1976
Sometimes, when listening to Weather Report at their best and this is one of their very best, it’s worth pinching yourself as a reminder that at their heart, this band comprised one of jazz’s most basic jazz configurations. It’s simply, saxophone, piano, bass, drums and percussion. Then, listen to ‘Birdland’, later covered by Manhattan Transfer and Maynard Ferguson, and wonder. Listen to the boost Pastorius gives the band, especially on his own compositions ‘Havona’ and ‘Teen Town.’ Reaching number 30 on the Billboard album chart, even today Heavy Weather remains as stunning in its overall effect as the day it was made. (SN)
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19
Ornette Coleman: Free Jazz (Atlantic)
Ornette Coleman (as), Freddie Hubbard, Don Cherry (t), Eric Dolphy (b cl), Scott LaFaro, Charlie Haden (b), Ed Blackwell and Billy Higgins (d). Rec. 1960
This one turned everyone around. Ornette set the musicians up in two parallel quartets, arranged some loose themes and collective playing to book end the entire performance as well as section off each solo, then let the musicians loose for a collective bout of improvisation that lasts well over half an hour reinventing the possibilities of jazz as it does so. The overall marvel of this record is that, while it proved to be so pregnant with ideas for those who followed in the next decades, the music grips the listener as excitingly as ever today. Some CD issues of this album contain the 17-minute rehearsal version of ‘Free Jazz’, called ‘First Take’, as a bonus. (KS)
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18
Dave Brubeck: Time Out (Columbia)
Brubeck (p), Paul Desmond (as), Eugene Wright (b) and Joe Morello (d). Rec. 1959
Brubeck rarely gets his due. A shame, because his good qualities are pretty special. For starters, he knew exactly the way to get the best from Paul Desmond, and for that we should all be down on our knees in thanks. Secondly, he’s a distinctive composer with a knack for melody, as this fine album demonstrates, even if the defining tune, ‘Take Five’, is a Desmond composition. It’s also important to stress Brubeck’s commitment to collective invention within his group: still an unusual thing in jazz in 1959. Put that all together and the unusual time signatures that mark this album out tend to pale in significance while the music remains convincing. (KS)
Review The Dave Brubeck Quartet – Time Out (50th Anniversary Legacy Edition) ★★★★★
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17
Herbie Hancock: Head Hunters (Columbia)
Herbie Hancock (ky), Bennie Maupin (saxes, fl, b cl), Paul Jackson (b), Harvey Mason (d) and Bill Summers (perc). Rec. 1973
It may have been jazz-rock after Bitches Brew, but after Head Hunters jazz-funk was the flavour de jour. Inspired by Sly and the Family Stone’s ‘Thank You (Falettinme Be Mice Elf Agin)’ there’s even a tribute track on it called ‘Sly’. The release represented a u-turn of spectacular proportions from the more esoteric direction mapped out on Crossings and Sextant to an album aimed squarely at the dance floor which is where it scored. ‘Chameleon’, the single taken from the album (also a biggie for Maynard Ferguson), sped up the Billboard chart to number 13 and made this one of the biggest selling jazz albums of all time. (SN)
Review Herbie Hancock – Head Hunters
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16
Albert Ayler Trio: Spiritual Unity (ESP-Disk)
Ayler (ts), Gary Peacock (b) and Sunny Murray (d). Rec. 1964
Ayler made a couple of revolutionary records in Europe two years prior to this but the first ESP-Disk was the one that made the breakthrough in terms of reaching out and changing absolutely everything. The sheer wildness of Ayler’s sound, execution and ideas (hysterical trilling way above the normal range of the saxophone combined with body-blow honks and sonic booms from its very depths) was unprecedented, as was the frenetic free-rhythm accompaniment from Peacock and Murray. It was only later that his musical forms were grasped and understood. On release, the record changed every conception of what constituted cutting-edge jazz overnight and unleashed generations of imitators. But Albert did it first, and did it best. (KS)
15
Mahavishnu Orchestra: Inner Mounting Flame (Columbia)
John McLaughlin (g), Jerry Goodman (vln), Jan Hammer (key), Rick Laird (b) and Billy Cobham (d). Rec. 1972
Formed in 1971, the original Mahavishnu Orchestra remains guitarist John McLaughlin’s greatest achievement. It lit up the night sky for almost two years, everything was played at 500mph with the Marshall stacks turned up to eleven. It left audiences in awe, then suddenly was gone. McLaughlin redefined the role of guitar in jazz, Cobham the drums and the band set new standards in ensemble cohesion. They did it without sounding glib, a trick their legion of followers never fathomed. They also sold albums in pop numbers and played arena rock stadiums. Even they didn’t realise how great they were until it was all over. (SN)
MusicBuy album from Presto Music
14
Duke Ellington: The Blanton-Webster Band (RCA Bluebird)
Ellington (p), Wallace Jones, Cootie Williams, Ray Nance (t), Rex Stewart (ct), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v tb), Barney Bigard (cl), Johnny Hodges, Otto Hardwick (as), Ben Webster (ts), Harry Carney (bs, bcl) Fred Guy (g), Billy Strayhorn (p), Jimmy Blanton (b), Sonny Greer (d), Ivie Anderson, Herb Jeffries (v) and others. Rec. 1940-1942
This 3-CD pack was first issued in the mid-1980s spotlighting Ellington’s most fertile and ground-breaking music. During the three years covered by this set Ellington and his musical doppelgänger Billy Strayhorn turned jazz composition and arranging inside out, often using the simplest of ideas and materials, as only genius can, but also presenting immensely sophisticated ideas in a guise instantly grasped by their legions of fans. That they had the assistance of such stars as Hodges, Williams, Bigard, Webster and Blanton only added to the music’s lustre: it remains an imperishable treasure. The slimline 3-CD 2003 RCA reissue titled Never No Lament: The Blanton Webster Band benefits from the latest remastering and research and is the version to get. (KS)
13
Louis Armstrong: Complete Hot Fives and Sevens (Columbia)
Armstrong (ct, v), Honore Dutrey, Edward Kid Ory, J.C. Higginbotham, Jack Teagarden (tb), Johnny Dodds, Don Redman, Jimmie Noone (cl), Barney Bigard, Happy Caldwell (ts), Lonnie Johnson (g), Johnny St Cyr (bj), Lil Hardin, Earl Hines (p), Baby Dodds, Zutty Singleton (d) and others. Rec. 1925-1930
If Jelly Roll Morton represents the high water of New Orleans polyphony through his Red Hot Peppers recordings of around this same time, Armstrong’s Hot Fives and Sevens reach out into the music’s future by allowing the incredible improvisatory genius of Armstrong to reach its first outrageous flowering. This music is bursting at the seams with vitality, Armstrong’s every solo seeming to overflow with uncontrollable invention delivered with an urgency that is never manic, always confident, forever breathtaking in its conception. Within this admirably packaged 4-CD set from 2000 (easily the best collective incarnation of this music on disc) Armstrong’s accompanying groups expand to meet his conception as the years go by while Louis himself keeps making that big picture bigger. (KS)
Feature Ten of the best Louis Armstrong albums
12
Eric Dolphy: Out to Lunch (Blue Note)
Dolphy (f, as, b cl), Freddie Hubbard (t), Bobby Hutcherson (vb), Richard Davis (b) and Tony Williams (d). Rec. 1964
Funnily enough, although Out To Lunch has the iconic cover and evolutionary reputation, the real breakthrough Dolphy disc, Conversations, was made the previous summer, 1963, for the tiny FM label. Among other wonders, it contained the revolutionary 14-minute Dolphy-Richard Davis duet on ‘Alone Together’. Be that as it may, Out To Lunch represents another side of the Dolphy genius, showing him as a musician-leader intent on involving his entire group in the improvisatory process at every level and at all times. Of course, he remains the group’s most gripping player (he wrote all the material too) and his imitation of a drunk on ‘Straight Up And Down’ remains unsurpassed except by himself. What would he have done next? (KS)
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11
John Coltrane: Giant Steps (Atlantic)
Coltrane (ts), Tommy Flanagan, Cedar Walton, Wynton Kelly (p), Paul Chambers (b), Lex Humphries, Art Taylor and Jimmy Cobb (d). Rec. 1959|
It’s pretty difficult to overestimate the influence this single album – or even more narrowly, its title track – has had on the development of jazz since its release: certainly the saxophone-bearing members of the world’s jazz community have found it and endlessly renewing font of inspiration. More recently, pianists have delved into re-arrangements of Coltrane’s elegant and distinctive compositions. The great man himself knew that this album was a culmination rather than a new beginning, but that probably accounts for its consummate artistry as much as any other reason: Coltrane was the most thorough of players. Some CD versions have as many as eight bonus tracks. (KS)
Feature John Coltrane – Giant Steps
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10
Keith Jarrett: The Köln Concert (ECM)
Keith Jarrett (p). Rec. 1975
Jarrett burst onto the international jazz scene as part of the ground-breaking Charles Lloyd Quartet of the latter 1960s, moved on to running his own trio, briefly joined in with the Miles Davis electronic voodoo soups of the early 1970s, then retreated to acoustic music and a re-examination of what he was attempting to achieve in his music. This led to something of a temporary eclipse in his profile in the first half of the 1970s, although his creativity continued to diversify and deepen. An adept at solo recitals (his Facing You for ECM in 1970 was a strong harbinger), he began a series of in-concert recitals for Manfred Eicher’s label that attracted acclaim and increasing public interest, but no-one was prepared for what happened to The Köln Concert when it appeared. A long series of intensely rhythmical improvisations that became hypnotic and endlessly repeatable on turntables throughout the world, the album became a runaway bestseller by word of mouth, rapidly escaping the confines of the jazz listeners’ community and spreading into the living rooms of people who never ever listened to, let alone owned, another jazz album. This remains the case with Jarrett and with the record, which is not only a jazz turning-point in its own right but one of the biggest-selling discs in the genre. (KS)
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9
Miles Davis: Bitches Brew (Columbia)
Miles Davis (t), Wayne Shorter (ss), Bennie Maupin (b cl), Joe Zawinul, Chick Corea (el p), John McLaughlin (g), Dave Holland (b), Harvey Brooks (el b), Lenny White, Jack DeJohnette (d), Don Alias (perc) and Jumma Santos (shaker). Rec. 1969
From whatever perspective you choose to view the 1960s – from the Cuba Missile Crisis to the rise of the counter culture movement, the student riots in Paris in May 1968 to the growing anti-Vietnam protests across the USA, the advent of the pill to the rise of rock music – established values were being openly questioned, upturned and in general shaken up. So in a decade when the leitmotif was change, it’s arguable that Bitches Brew was the album that shook the music world up most. After all, combining jazz and rock? Yes, there had been albums before Bitches Brew that did just that, but Miles Davis’ position in the jazz world sanctioned the union between two seemingly opposed bedfellows. With Bitches Brew the jazz-rock message was handed down from the mount on tablets of stone. From the title track with Davis, Shorter and Maupin emerging from the matrix of the mix before being swallowed up by this swirling electrical brew, to ‘Miles Runs the Voodoo Down’ with the trumpeter on the heels of Hendrix, the sound of jazz was changed forever. (SN)
Review Miles Davis – Bitches Brew (40th Anniversary Deluxe Edition) ★★★★★
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8
Charlie Parker: Bird: The Complete Original Master Takes. The Savoy Recordings (Savoy Jazz)
Parker (as, ts), Miles Davis (t), Dizzy Gillespie, Argonne Thornton, Clyde Hart, Bud Powell, John Lewis, Duke Jordan (p), Tiny Grimes (g, v), Curley Russell, Tommy Potter (b), Harold West and Max Roach (d) plus others. Rec. 1945-48
Parker, of course, made his most innovatory music on record prior to the invention of the LP, so every collection of his brilliant music from the 1940s is a latter-day compilation of the original 78rpm singles. Early vinyl attempts to collate his best material were haphazard at best, especially from the original Savoy company, so it wasn’t until the 1960s and 70s that things got in any way organised and proper chronological reissues were successfully brought to market. These days, you can buy the complete Parker Savoys and Dials in a lavish multiple CD set, but you get all the breakdown, alternative takes and other bits and pieces, making it a trial for all but the committed Parker enthusiast. For those who want to know and shiver to the thrills of encountering earth-moving genius for the first time, master takes only, then this 2-CD set from the 1980s is the best entry point: you get Parker’s own approved performance, you get just the Savoys and you get superior remastering across just two CDs rather than five or six. Undiluted precedent-breaking music from Parker, aided and abetted by the best and most sympathetic colleagues of the day. (KS)
Feature Charlie Parker – Bird Lives!
7
Charles Mingus: Mingus Ah Um (Columbia)
Mingus (b), Jimmy Knepper/Willie Dennis (tb), John Handy (as, ts), Shafi Hadi (as), Booker Ervin (ts), Horace Parlan (p) and Dannie Richmond (d). Rec. 1959
Just as with the Monk at number six, this classic album also represented a career breakthrough. Recorded not long after his Blues And Roots, but Atlantic deliberately held that back for over a year because the bassist had signed his first contract with Columbia, the major whose distribution, especially to the white audience, was much more powerful. Ah Um’s release came in the same year as his first evening appearance at the Newport Festival and the start of his record-breaking residency with Eric Dolphy.
The present album, however, was a studio venture with a specially constituted group familiar with Mingus’ working quintets. Ervin’s contributions, for instance, ‘Fables Of Faubus’‚ and the gospelised opener ‘Better Git It In Your Soul’, are a definition of “hot”, while Knepper on the deliberately old-fashioned ‘Jelly Roll’‚ makes it satirical and serious at the same time. Similar things apply to ‘Bird Calls’‚ and ‘Goodbye Pork Pie Hat’, where Handy pays oblique homage to Parker and Lester Young respectively but don’t ignore the crucial reactions of the crisply recorded Richmond. Novice producer Teo Macero’s tight editing allowed for more tunes and more user-friendly presentation than on Blues And Roots. (BP)
Review: Charles Mingus – Mingus Ah Um (50th Anniversary Edition) ★★★★★
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6
Thelonious Monk: Brilliant Corners (Riverside)
Monk (p, celeste), Ernie Henry (as), Sonny Rollins (ts), Oscar Pettiford/Paul Chambers (b), Max Roach (d) and Clark Terry (t). Rec. 1956
Recording of Brilliant Corners began 50 years ago next month, making an impact hard to imagine these days. The first new Monk album to receive more than a guarded welcome in the press, the praise was entirely justified. Unlike his first two Riverside releases, respectively of Ellington standards and a bunch of other jazz standards, this was nearly all Monk’s own tunes and three of the four were new, none more so than the extraordinary title-track which gave so much trouble to the all-star cast who’d never seen it before. Rollins and Roach, currently making a success of the newly Clifford Brown-less Roach quintet, had worked for Monk before but both were seriously challenged by his material here. The less well-known Ernie Henry was in the pianist’s regular quartet and a post-Parker deviant comparable to Jackie McLean, while Pettiford was a pioneer bopper beloved of Monk except when they disagreed. Using the bubbly Clark Terry and Paul Chambers on a subsequent session was a stroke of genius, as was the unaccompanied piano track. And the whole thing was released just as Monk began his historic group with Coltrane. (BP)
Feature Thelonious Monk: essential recordings
MusicBuy album from Presto Music
5
Sonny Rollins: Saxophone Colossus (Prestige)
Rollins (ts), Tommy Flanagan (p), Doug Watkins (b) and Max Roach (d). Rec. 1956
Was Sonny Rollins ready in 1956? Was he ready! Apart from this masterpiece, he also lead from the front on Plus 4, an album featuring the Brown/Roach Quintet of the day in all but name, plus Tenor Madness (the title track featuring a head-on with Coltrane) and the exquisite Plays For Bird. But Saxophone Colossus towers above them all, not only because it concentrates on a quartet setting allowing undiluted access to the creative process of Sonny at his most inspired, but because it is one of those happy coincidences where all elements came off equally well, including the use of unusual repertoire and inspired originals. Rollins himself was clearly inspired enough by such material as ‘St Thomas’ and ‘The Moritat’ from Threepenny Opera to still be playing them in concert 50 years later. Nevertheless, it is tempting to call these original recordings definitive, if only because they do in fact define the essence of Rollins’ approach to improvisation, wringing every nuance and variation he can from the theme and its associated melodic and rhythmic patterns. The blues ‘Blue 7’ was famously dissected for such methodology by Gunther Schuller back at the time of Saxophone Colossus’ initial release but that failed to stop Rollins from another two years of super-human saxophone playing before his dramatic retirement in 1959. This is still the biggest-selling jazz album of all time in Japan. (KS)
Feature Sonny Rollins: Albums That Shook The World
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4
Bill Evans Trio: Sunday At The Village Vanguard (Riverside)
Evans (p), Scott LaFaro (b) and Paul Motian (d). Rec. 1961
None of the three men that made this music one fine June day in 1961 had any inkling of the impact it would have down the years: on listening to the playbacks LaFaro did mention to Evans that he thought they’d got pretty close to optimum performance, but that was about it. Two weeks or so later LaFaro was dead and Evans left with the ashes of his first great group. This album became Evans’ own personal choice of what he thought best represented the trio through the spectrum of LaFaro’s prodigiously gifted bass playing. The pianist obviously had great discernment because thousands of people have concurred with him since, naming this not only their favourite Evans album but the one that changed their lives (and in some cases, their careers). Why? Not only were the three trio members individually at their peaks on that particular Village Vanguard Sunday, but they interacted with quietly fierce invention as never before, certainly not on record. Equal partners, they sustained a musical dialogue on selection after selection that has rarely been equalled within the earshot of a professional microphone, with the astonishingly inventive LaFaro perhaps meriting the sobriquet of senior partner at times, so dominant can he be. This is hardly to downgrade Evans’ own contributions, all of which retain their depth and freshness today. The various CD versions of this set come in all manner of configurations, many with as much as five bonus tracks. Original is best, however, and you will not be disappointed by a CD containing the bare LP track line-up. (KS)
Feature: Ten life-changing jazz piano trio recordings
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3
Ornette Coleman: The Shape of Jazz To Come (Atlantic)
Coleman (as), Don Cherry (t), Charlie Haden (b), Billy Higgins (d). Rec. 1959
I don’t know what it was about Ornette that led record company executives to go for the overkill on the album names, but by the time Atlantic released this, the altoist’s debut on the label, he’d already had albums on Contemporary called Something Else!!!! and Tomorrow Is The Question. Anyway, few observers of the day were bothered by the hyperbole, more by the claim that Ornette had any musical worth whatsoever. Of course it was a complete red herring, because although Ornette did have a profound influence on subsequent jazz developments, it was an oblique one compared with that of Coltrane’s or Eric Dolphy’s or Miles Davis’. What this album did in fact contain and represent was a completely different and fresh set of musical signposts within the jazz vernacular, both in terms of the stunningly bright melodic patterns Ornette crystallised in his vibrant and beautiful compositions and in his off-the-wall improvisatory approach. He also brought back to jazz that rough, keening wail and constant pitch variations of the most basic blues and folk music. Later we all learned that he’d cut his musical teeth on tenor in Texas R&B bands and it all made sense: at the time it sounded as if Attila the Hun had been resurrected at the Five Spot and in Atlantic’s recording studios and was in no mood to do deals. Ornette never did, either, bless him. (KS)
Review: Ornette Coleman – Original Album Series ★★★★★
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2
John Coltrane: A Love Supreme (Impulse!)
Coltrane (ts, v), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1964
No matter how many times you approach this album it’s always greater than the sum of whatever parts you compile. Yes, it’s perfect, yes, it’s ambitious, yes it crosses over far from the usual jazz conceptions, yes it is couched as a suite of meditations-in-kind that give it a formal design way beyond 99 per cent of jazz albums. Yes, Coltrane plays like a man inspired by something more than the job immediately to hand, as do the other three musicians involved, and yes the themes are unremittingly sober. But that only scratches the surface of this album’s achievement. You can’t lay it at the door of Coltrane’s aspirations, because good intentions often lead to artistic disasters in music as well as every other aesthetic discipline, but it is possible that his own complete commitment to his testimony of spiritual re-birth happily coincided with a day in the studio where he was truly touched to open his soul through the medium of his saxophone, for his playing on this record is almost terrifyingly open, intense and soul-shattering, even when he is simply stating a theme.
This is a very powerful part of the album’s pull, as is the tautness of each selection’s form, and it must also account for the hold it has sustained magically over listeners who otherwise venture rarely into any form of jazz, including the progressive rock fans of the late 60s and onwards. Within jazz itself, the album ensured that the music could no longer be considered a social or cultural also-ran, the spiritual and humanistic concerns that made up its inspiration demanding that it be treated in the same way as the master creations of the art-music of any culture. Nothing could be the same again. It still isn’t.(KS)
Review: John Coltrane – A Love Supreme: The Complete Masters ★★★★
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1
Miles Davis: Kind of Blue (Columbia)
Miles Davis (t), John Coltrane (ts), Cannonball Adderley (as), Wynton Kelly (p), Bill Evans (p), Paul Chambers (b) and Jimmy Cobb (d). Rec. 1959
Ashley Kahn, author of Kind of Blue: The Making of the Miles Davis Masterpiece, explains why Kind of Blue tops the list:
How does one properly gauge impact? There’s no smouldering crater in the case of Kind of Blue, Miles’ melancholy, modal-jazz masterwork. The 1959 disc didn’t arrive with a thunderous clap, yet four decades later, at the end of the millennium, there it was at the top of any and all “best of” lists, nudging aside so many rock, pop and hip-hop recordings.
Today, there it is on Hollywood soundtracks, an incontestable signifier of hip. There it is near the sales till, still moving up to 5,000 copies a week worldwide, outselling most contemporary jazz recordings. And there it sits in at least five million CD collections. Often it’s the one jazz title owned by a metal head or a classical enthusiast, not just the jazz-focused.
But perhaps Kind of Blue is better measured by the sum of the constituent parts. Five tunes, exceedingly simple in construction, exceptionally deep in evocative power, played by seven post-bop masters, all in their prime. A once-in-a-lifetime line up that makes the term “all-star” seem inadequate: trumpeter Davis, plus sax men John Coltrane and Cannonball Adderley, pianists Bill Evans and Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb.
Certainly, Kind of Blue must be measured by musical influence. Ask any number of influential music-makers who have been around, such as Quincy Jones, Herbie Hancock, and the like, they all agree. At a time when the music had “gotten thick” as Miles said, Kind of Blue distilled modern jazz into a cool and detached essence.
The motivation behind going “modal” in the 1950s jazz world was to break from established harmonic patterns (melodic, too) and make way for fresh, extended improvisation. Miles was remarkably successful in marrying musical opposites: 20th century classical concepts such as harmonic simplicity, exotic scales and African rhythms all in a relaxed, swinging groove.
Kind of Blue became the improviser’s bible upon its release in late 1959. For one of its joint creators – John Coltrane – it pointed the way forward: he led much of the jazz world into the 1960s after his modal lessons with Miles. At Coltrane’s side pianist McCoy Tyner adapted Bill Evans’ innovation of quartal harmony, the use of fourths on ‘So What’, to legendary results.
At the close of the 60s, the modal idea became the foundation of fusion jazz. It proved the same for a number of rock groups, such as the Allman Brothers, Grateful Dead and Santana, that used the electric guitar as the solo instrument of choice, and set the standard for generations of jam-oriented bands to follow.
“I think the implications of Kind of Blue we now feel everywhere, but it wasn’t as deep as they became over time,” says saxophonist Dave Liebman. “Name me some music where you don’t hear echoes of it,” Herbie Hancock challenges.
“I hear it everywhere – it becomes hard to separate the modality that exists in rock ’n’ roll, some of it could be directly from Kind of Blue.”
Write a book with as narrow a focus as one jazz album (let’s say Kind of Blue) and, trust me, one ends up thinking and rethinking the subject years after publication. My theories on why that particular Miles album maintains its hold on the top of various charts never seem to settle comfortably on one explanation. I feel the ranking of a musical masterpiece is one that should be open to constant rethink, even if the status remains the same in the end. Yet, especially in the mainstream press, the music chosen for those “best this” and “most that” lists simply falls in line with a long-established view with no question and little explanation.
For this reason and for others, I’m not a fan of top 10 lists. Or of 20, 100, or any number that would place one recording before another. Musical value and appreciation is far too subjective a thing to be ordered neatly on a linear scale. One-dimensional exercises such as list-making seem especially un-hip and unrevealing when it comes to jazz, the most porous and democratic of musics, open to all influences, granting all styles equal value and importance. At least in my view.
Of the many ideas I gathered for my book on Kind of Blue, there is one quote in particular that comes to mind whenever the subject of relative value arises.
“If you like Kind of Blue, turn it over, look who plays on it,” says keyboardist Ben Sidran. “If you particularly like the piano, go buy a Bill Evans record, buy a Wynton Kelly record. If you like the alto playing, buy a Cannonball Adderley record. That one record – it’s not even six degrees of separation – is maybe two degrees of separation from every great jazz record.”
My own introduction to Kind of Blue took place in 1976, a time when my teenage ears were filled with post-Woodstock rock, and the first bursts of punk. Springsteen was a recent discovery as was Bob Marley. One day a mate whose musical taste I trusted implicitly yanked a worn copy of Miles’ LP out of my father’s collection – which I avoided as a matter of principle and teenage independence. Holding it out to me, he declared it a classic. I looked at it anew and came to enjoy its mood-setting atmosphere. I also came to realise how narrowly I had been casting for new sounds. I had been standing on the shore of a vast ocean of musical possibilities, yet fishing in one small inlet.
I didn’t fully realise it then, but Kind of Blue helped me see the vastness before me and rejoice in its expanse. I’ve been sailing the waters, listening and learning, ever since.
If those 5,000 per week sales figures are any indication, I’m not alone. As a measure of impact – I can think of nothing more significant than the music that first unmoors one from preconceptions and the need to stay in one place. For this alone, for serving for so many as a portal to an entire world of creative music, I agree that Kind of Blue continues to earn its status as a number one.
Feature: Miles Davis – Kind of Blue
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Sail World - The world's largest sailing news network; sail and sailing, cruising, boating news
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/faviconSW.ico
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https://www.yachtsandyachting.com/news/278039/Astral-Azure-2000-class-Nationals-mid-way-report
|
Astral Azure 2000 class National Championship at the Royal Torbay Yacht Club - Update
by Pete Vincent 7 Aug 04:18 PDT
Astral Azure 2000 class National Championship at Torbay © Tania Hutchings / www.50northphotography.co.uk
The Astral Azure 25th anniversary 2000 Nationals at the Royal Torbay Yacht Club has been action packed with eventful high quality racing and much fun on shore with a full programme showing exactly why the class has gone from strength to strength in the last 25 years.
On Monday and Tuesday highly respected coach Adam Bowers videoed the racing and gave very well received de briefs after racing in Adam's unique joyous style.
Monday saw an excellent dinner hosted by the club and the West Country Boat Repairs now legendary alternative quiz which featured competitors acting out great British sporting achievements of the past 25 years. Tuesday was the Lakes Mortgages ice cream day with all competitors getting a very welcome hard earned ice cream when they came off the water.
The well-oiled superb Royal Torbay Yacht Club race team have set excellent course with spot on race lengths and some very nifty work laying new replacement windward marks during races to cope with some variable directions.
Sunday saw 8-12 knot southerly with Ed and Andy Connellan laying down an early marker leading race 1 throughout just ahead of a fast finishing Joanthan and Louisa Ching with Ollie Groves/Esther Parkhurst 3rd. Ollie/Esther were the form team in the second race to win from Pete Vincent/Sophie Bentley who just got the better of Jaye Whitehead/Alice Moore on the final run.
Monday saw 10-14 knots from the SW and Ollie/Esther were well clear in race 3 from the Connellan's and Pete/Sophie. Race 4 in more pressure saw Adrian/Ros Stell be a tiny dot right in Torquay have a massive lead at the first mark to win from Ollie/Esther and the Chings.
Tuesday was held in a variable wind strength Westerly. The Connellans scored another impressive win in race 5 with a starbar result from Juliet Barnes/Steve Long in 2nd and Ollie/Esther.
Race 6 was very eventful with Ollie/Esther literally tied up with the pin end boat. Matt Sargent/Zak Mitchell sailed an excellent first beat to have a good lead but half way down the first run the breeze went very soft as the leading group wallowed in the middle of the course rather frantically looking at boats on both edges coming down in new breeze. Somehow Matt/Zak got to the leeward gate 3rd and then sailed a top race to score a well deserved win from Jaye/Alice with the Connellans thirds as boats finished full speed spray everywhere plains.
With crews now on a well deserved lay day the Championships are wide open particularly with the promise of fairly fruity breezy conditions tomorrow.
Results after 6 races:
|
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https://www.westendtheatre.com/10949/star-watch/oliver-thornton/
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en
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West End Theatre
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[
"oliver thornton",
"palace theatre",
"priscilla",
"priscilla queen of the desert",
"richard grieve"
] | null |
[
"WestEndTheatre"
] |
2011-01-09T20:41:17+00:00
|
OLIVER THORNTON in Priscilla Queen of the Desert
|
en
|
West End Theatre | London theatre tickets and West End shows | West End Theatre
|
https://www.westendtheatre.com/10949/star-watch/oliver-thornton/
|
Oliver Thornton camps it up in Priscilla
Some are born great, some achieve greatness and some have all that AND are very hot indeed. Oliver Thornton is the multi-talented actor currently playing Adam/Felicia in Priscilla Queen of the Desert in London, originally played in the Oscar-winning movie by Guy Pearce.
Born and raised in South Wales, Oliver trained at Mountview and has spent his career so far appearing in a range of big, blockbuster musicals. Roles include Mark in Rent at the Duke of York’s, Raoul in The Phantom of the Opera at Her Majesty’s, Enjolras in Les Misérables at the Palace and Queen’s theatres, Harrison in Chicago at the Adelphi and Rusty in Starlight Express on the UK tour and in its home in Bochum, Germany.
Film roles include De-Lovely and his much praised performance as Adam has earned him Whatsonstage and Broadway.com theatregoers choice awards.
The big question on all of our lips is, what’s up next after Priscilla… Priscilla on Broadway?
Oliver stars in Priscilla Queen of the Desert alongside Richard Grieve as Tick, Mark Moraghan as Bob and Don Gallagher as Bernadette.
Book tickets to Priscilla Queen of the Desert at the Palace Theatre in London
Sign-up for booking alerts, offers & news about Priscilla Queen of the Desert and other shows:
📷 Main photo: OLIVER THORNTON in Priscilla Queen of the Desert
Related News
More >
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https://www.josiemusicawards.com/2024-official-nominees.html
|
en
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2024 Official Nominees
|
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] |
[] |
[] |
[
""
] | null |
[] | null |
Official Nominee Template Download the File Below:
|
en
|
THE JOSIE MUSIC AWARDS
|
https://www.josiemusicawards.com/2024-official-nominees.html
|
Artist of the Year
Country Male
Adam Warner
Robert Weston
Troy Castellano
Todd Tilghman
Shane Pons
Trey Earnhardt
Matt VanFossen
Kalyn Beasley
Billy Gray
Jon Rogalia
Chris Canyon
Eli Mosley
Rusty VanSickle
Dillon Massengale
Fritz Frye
Bob Donaldson
Artist of the Year Country
Craig Hendricks
Grayson
Clayton Q
Sam Stinson
Brandon Lorenz
Chad Bushnell
Nate Venturelli
Donavan Lee Carpenter
Hollis Dorian
Brandon "6B.Low" Lowe
Ethan Vincil
Dustin Chapman
Brad Morgan
Caleb Kelley
Artist of the Year
Country Female
Lisa Mary
Jenna Jane
Kayleigh Mathews
Teagan Littlechief
Jackie Guy
Michelle Robinson
Sam Roark
Morgan Ashley
Hailey Verhaalen
Trena
Tiffaney Nesbeth
Taylor Sanders
Meagan Allen
Kirstie Kraus
Artist of the Year Country
Chad Wooten
Robert Eskridge
Jay Tighe
Jake Bradley
Joey Ferris
Dale Houston
Jason Passmore
Johnny Westwood
Sammy Dale
Houston Bernard
Rob Cole
Houston Bernard
Aaron Carter
Artist of the Year - Rock
Sandy Hall
Damon Mitchell
Jasmine Cain
Brian Doucette
Kris Anders
Tyler Gilbert
Artist of the Year
Pop/Dance/Contemporary
Irene Michaels
Heerraa Ravindran
Kendra Muecke
Denine
Jon Mullane
Baker Grace
Kady Rain Williams
Auti
Nick Psyhogios
Artist of the Year - Outlaw
Michael Austin
Gregg Erwin
Terry Douglas
Billy Payne
Russell Lynch
Josh Davis
Cody Ikerd
Brad Simmonds
Artist of the Year
Southern Rock/Country Rock
Joe Clark
Madison Galloway
Charlie Bonnet III
Michelle Leigh
Will Wesley
Brendan McMahon
Lola Blu
Artist of the Year
Jazz/Blues/Soul
Justine Blazer
Travis Bowlin
Melissa Ellis
Tomiko Dixon
Angela Easley
Joel Astley
Jennifer Porter
Seth James
Claudette King
Lightnin Rod Wilson
Derrick Dove
Tom Euler
Artist of the Year
Traditional/Classic Country
Don Redmon
Ruth Manning
Lee Newton
Joey Canyon
Liz Clarke
Vanessa Bourne
Tina Patterson-White
Mike Hernandez
Scott Southworth
Mackynsie McKedy
Webb Dalton
Jimmy Parker
Junior Artist of the Year
Adalyn Ramey
Jorie Blake Rosen
Josie Salvitti
Hayley Isabel
Artist of the Year
Young Adult - Female
Chloee Rae
Giovanna Bone (Gio)
Callum Toner
Ariel Franz
Esther June
Kami Huff
Miley Henderson
Faith Parle
EV Mae
Hadlie Jo Pritchard
Francesca Tarantino
Carrie Brockwell
Brigitte Eve Sirois Roffey
Shanelle Rudrigo
Payton Riley Kuehn
Artist of the Year
Young Adult - Male
Johnathon Heilbroun
Damon Spigle
Tege Holt
Ty Smith
Brayden Ryle
Austin McKedy
Cormac Thompson
Artist of the Year R&B/Soul
Charm
Mr. Talkbox
Angel Dweh
Artist of the Year - Hip Hop
FlowEz Mr. Billups
I am Cricchi
Twizm Whyte Piece
Artist of the Year
Folk/Americana
Male
Ryan LittleEagle
Mick Fury
Ashley Best
Effron White
Steve Dunfee
Jimmy Bowen
Mark Rose
Rocky Michaels
Brendan Kelly
Gary Patrick
Spooky Fox
Bill Abernathy
Female
Leah Fuls
Anna Wescoat
Kendi Jean Finestead
Bronte Fall
Meghan Pulles
Tai Shan
Jayna Jennings
Artist of the Year
Christian/Gospel/Inspirational
Female
Anna Anawalt
Rosalie Hovencamp
Melissa Pettignano
Rachel Jeanette
Dennise Dittman
Victoria Steelman
Brenda Best
Kathryn Shipley
Rita Faye Tanner
Cindy Morgan
Male
Marty DeRoche
Chris Golden
Steve Bridgmon
Eddy Mann
Doug Deforest
Matt Winters
Justin Gambino
Artist of the Year
Multi-Genre
Female
Melissa Marshall
Ewelina
Vanessa Davis
Martha Spencer
Sangeeta Kaur
Morgan Myles
Sarah King
Pam Ross
Miranda Raine
Jackie Putnam
Male
Cory M. Coons
Brando Vanschoyck
Gareth Campbell
Tim Archer
DPB
D Boone Pittman
Spencer Ezell
Aaron Partridge
Blake Ellege
Edgar Loudermilk
Dimitris Nezis
Female JMA Alum
Abbie Thomas
Jennifer Bone
Amy McAllister
Loretta Callens
Annemarie Picerno
Madison Hughes
Danni Stefanetti
Clare Cunningham
Charlie Pace
Sheila Clark Fox
Heather Nikole Harper
Alyssa Ruffin
Taylor Hughes
Artist of the Year
Modern Country
Male
Travis Thamert
Barefoot Joe
JD Shelburne
Aaron Ray Vaughan
Cole Hartley
Travis Reigh
Donny Lee
Jonny James
Female
Tianna Woods
Kamber Cain
Tobi Lee
Celeste Kellogg
Macy Tabor
Morgan White
Erin Stoll
Artist of the Year - JMA Alum
Modern Country - Male
Michael Dill
Shane Thornton
Cort Carpenter
Trace Thompson
Andy Davis
Wesley Spangler
Trey Calloway
Gary Burk III
Mark Blomsteel
Jackson Snelling
Steven Cade
Donnie Lee Strickland
Danny Kensy
Adam Calvert
World Artist of the Year
Yulian Taylor
Gabriela Sepulveda
Roberta Scime
Jabali Afrika
Karina Daza
Laurie LeBlanc
Amanda Abizaid
Veronique Medrano
Prana Kishore
Berry Music
Hilda Lamas
Kavitha Jayaraman
Cosimo Lizzi
S.J. Jananiy
Avra Banerjee
Sofia Vaina
Anita Lerche
Priyadarshini
Eduardo Leon
Video Production of the Year
Listen Locally, LLC.
Mike Young Media
22VisionZ
DPB Video Production/B4Entertainment
Lance Goodman
Chaz Mazzota Creative Services
Half Brothers Media
Venue of the Year
The Coyote Store
Music At the Manse
Chenault Vineyards
Tennessee River Jamboree
Tuck’s Bar – Minor Hill, TN.
The Red Brick Tavern
Cook County Saloon
Photographer of the Year
Bill Hess Photography
Lisa Morrow Photography
Maples Unlimited
Janet Reynolds Photography
Wright Images
Autumn Davis Photography
Mike Young Media
Music Production/Producer
Nashville Trax
Mark Toliusis
Pat Sebastian
Buddy Hyatt Music
Vahagn Stepanyan
Thadeus Records and Production, Ltd.
Tuneimagineers
Ted Olson
James Kocian
Brion Gamboa
Michaels Lyric
Raf n’ Soul
Harry Kappen
World Music Vocalist of the Year
Yulian Taylor
Hilda Lamas
Cosimo Lizzi
Sofia Vaina
Priyadarshini
Roberta Scimè
Sangeeta Kaur
Gabriela Sepulveda
Vocalist of the Year
Bluegrass
Greg Blake
William Goodwin
Tianna Lefebvre
Titus Luckhaupt
Edgar Loudermilk
Caroline Owens
Katelyn Ingardia
Greg Blake
Dave Adkins
Glen Harrell
Paul Brewster
Vocalist of the Year - Multi-Genre
FEMALE
Laura Auer
Tarryn Wallin
Autumn Davis
Meagan Allen
Marsha Goodman-Wood
Vanessa Davis
Kelsey Blackstone
J Edna Mae Thomas
Lexi Lew
Brandi Huang
Elizabeth Golden
Megan Paullet
FEMALE
JMA ALUM
Helena Mace
Abbie Thomas
Lisa Polizzi
Rio Scafone
Clare Cunningham
Mandalyn
Danni Stefanetti
Jennifer Emard
Sheila Clark Fox
Charlie Pace
Annemarie Picerno
Linda Tullis
Kristen Morgenstern
Amy McAllister
Heather Nikole Harper
Janie Balderas
Lia Caton
MALE
Blake Ellege
Cory M. Coons
Geoffrey Schmith
D Boone Pittman
Spencer Ezell
Nick Teale
Tim Archer
Jeremy Zeller
EJ Edward Ouellette
Vocalist of the Year
Southern Rock/Country Rock
MALE
6B.Low
Michael Austin
Scott Boyd
Todd Campbell
Will Wesley
Ryan Jay
Travis Pickering
Brendan McMahon
Kevin McCoy
Gareth James
Matt Lomax
Leif Shively
FEMALE
Michelle Leigh
Jess Zimmerman
Pamela Hopkins
Jane Sowerby
Sarah Ashley
Jenny Teator
Savannah Dean Reeves
Jacquie Daniels
Robyn Ashley
Taylor Hughes
Vocalist of the Year - Country
FEMALE
Carly Greer
Sam Ferrara
Ashton Smith
Madison Hamilton-Greener
Tammy Lee
Rachel Harris
Morgan Ashley
Sofie Tabesh
Cherise Carver
Krystal King
Jasmine Vatamaniuck
Kayleigh Mathews
Jessey Adams
Alicia Harvey
Erin Stoll
Rebecca Nudd-Valentine
Rylee Austin
FEMALE -JMA ALUM
Tiffaney Nesbeth
Taylor LaValley
Taylor Marie Wagner
Kristie Kraus
Hailey Newman
Michelle Robinson
Liz Clarke
Ryleigh Madison
Lisa Richard
Jenna Jane
Hailey Verhaalen
Jackie Putnam
Trena
Lisa Mary
Haleigh Martin
Sarah Hardwig
Vicki Lynn Maxwell
Holiday Project of the Year (EPs/Albums)
Justine Blazer - Joy!
Larissa - Larissa's Christmas
Gene and Anne Schmidt - The Promise
Jennifer Alvarado - Christmas in Carolina
Album of the Year
Southern Rock/Country Rock
Charlie Bonnet III - Stage Lights
The Jess Zimmerman Band - Be The Light
Deacon Stone - Dust & Glory
Tyler Healy - Do It Round Here
Eleyet McConnell - Crazy World
Album of the Year - Pop/Contemporary
Ryan Shepherd - Something Real: The Album
Kendra & the Bunnies - with the Politics of Kendra
Ewreckage - Iconic
Rags and Riches - I Need A Holiday
Studeo - You're Safe With Me
Clark Ford, Featuring Underground Treehouse - Meant To Be
Nick Psyhogios - It’s Never Too Soon to Start Over – Anthology
Album of the Year
Gospel/Worship/Inspirational
Sound of the North - Bring A Revival
Lee Newton - Crossroads
oc Murphy and Everywhere Worship - King
Justin Gambino - Made New
James Scott Nelson - There's God
Cindy Morgan - The Sounds of Jubilee
Billy Walker - The Final Score
Album of the Year - Instrumental
Loretta Callens -Wings Unopened
Brian Tarquin & Heavy Friends - Beyond The Warrior's Eyes
Darren Michael Boyd - Hexalogy
Sophia Agranovich - # “Franz Liszt: Rhapsodies, Études and Transcriptions”
Vasileios Yfantis - Cinematic Works, Vol. III
Myroslav Levytsky - Keys to Peace
Album of the Year - Outlaw Country
Kentucky Music Mafia - Outlawz With Attitudez Terry Douglas Band - Fade into the Grey
Billy Payne - A Little Rough Around The Edges
Cody Ikerd and the Sidewinders - Dreamers Like Me
Fish Fisher - Nashvillain
Album of the Year - Jazz
Charu Suri - Rags & Ragas
Zeno Jones - Disillusion Blues
Jennifer Porter - Yes, I Do!
Yulia - Best Wishes
Album of the Year - Multi-Genre
Thorns & Roses -Catherine Marie & Julian Sundby
Adam Schumaker - Love Death Sleep Money
Fran Pitre - Nothing To Fear
Phillip Kanakis - Aquarius Rising
Tom Lerner - Voices
Clare Cunningham - On my way (Ar mo bhealach)
John Dennie - Americana Dream
Sheila and the Caddo Kats - CHILL
Charlie Pace - Hear Me Out
Stillwater Junction - Stillwater Junction
Kristian Montgomery and the Winterkill Band - Lower County Outlaw
Jackson Hollow - Roses
Song of the Year - Bluegrass
Adalyn Ramey - Lonesome Wind SW: Adalyn Ramey
Fran Pitre - Mountain Top SW: William Dennison, Fran Pitre
The Goodwin Brothers - Bottom of the Holler
SW: Sarah Beth Terry
John Dennie - The Legend of Cooter Brown
SW: John Dennie
Edgar Loudermilk Band - My Picasso
SW: Jerry Eicher, Rick Lang
Holly Olm - I Know SW: Holly Olm
Katelyn Ingardia - SilenceSW: Katelyn Ingardia, Louis Hughes
Song of the Year - Outlaw
Kevin Palmer - Smoking Gun SW: Kevin Palmer
Danny Terrell - If I Ever Get Back Home
SW: Danny Terrell, Mike Brandon, Richard Mitchell
Kentucky Music Mafia - Southern Pride
SW: Shannon Joesph Collins, Toby Ray Farris, Roy Caudill
Clydeton Road - No Golden Ring SW: Matthew K. Brown
Trace Thompson - Waylon Warned Me
SW: Trace Thompson, Josie Bisto, Kelli Johnson
Terry Douglas Band -A Bible and a Gun
SW: Terry Douglas, Greg Jones
The Muddy Water Band - Like I Use To
SW: Marcus Spurlock, Heath McBride
Midwest Thick - Preacher Man (Devil's Home)
SW: James Ryce, David Wagner
Justin Wright and The Dirty Strings - Cuz I Can
SW: Justin Wright
John Major - Backwoods Outlaw SW: John Major
Cody Ikerd and the Sidewinders - I Miss You
SW: Cody Ikerd
Austin Van - Answer to Him Once More
SW: Austin Van, Jeff Duda
Duo of the Year
Multi-Genre
The Hammond Brothers
Eleyet McConnell
Cutter & Cash and the Kentucky Grass
The Swansons
Meg Williams & Travis Bowlin
Troubaduo
Broadtree
Soulful Femme
Katelyn and Jules
Duo of the Year
Folk/Americana
The Rough & tumble
A Tale Of Two
Joe Kidd & Sheila Burke
Stace & Cassie
Phoenix
Tennessee Twin
The Woodsmen
The Union Revival
March to August
The Lockhearts
Duo of the Year - Country
Joe & Diane
DANJO
Lincoln skins
Mark McKinney & co.
Rebecca & Jamey
Kentucky’s Country Duo
Royal South
FOXX Worthee
Velvet Rodeo
LAN LAW
Roseland
Sugar and Spice
The Malpass Brothers
Cliff & Susan
Lynchburg
Hutcheson Brothers
Duo of the Year
Martini Russa
Sleep Nation
Moving Lines
STUDEO
Rags and Riches
DMC DUO
Iron Axxis
The Journeys (Donna and Ben)
Gene and Anne Schmidt
Shay and Michi
Group of the Year
Rock/Metal -JMA Alum
Dawn of the Rising
Limberlost
The Almas
CloZure
Blue Iris
Clint & The Cosmic Wake
Sourmash
Voodoo Moonshine
Tattered Sons
Statelaw
Rusty Shipp
Group of the Year
Rock/Metal
Dream Pusher
Them Guys
Motherjane
Ignescent
The American Relics
Mojo Gypsy
The Indigos
Almost Guilty
The Neon Angels
Beyond Destiny
24 Thorns
Love The Hate
Valkyrie’s Fire
Tattered Sons
Group of the Year - Gospel
Sound of the North
Chasing Judah
William Lee Golden & The Goldens
Group of the Year
Southern Rock/Country Rock
Stillwater Junction
Oceans Highway
Southbound41
Not Leaving Sober
Jacquie Daniels and the Blank Slates
Ten Mile Bay
The Jess Zimmerman Band
Tony Logue & the 184
Group of the Year - Bluegrass
Crandall Creek
Jackson Hollow
My Brother’s Keeper
Edgar Loudermilk Band
Backline
The Goodwin Brothers
Caroline Owens & New Company
Group of the Year - Outlaw
Kentucky Music Mafia
Cody Ikerd and the Sidewinders
Last Train to Juarez
Justin Wright and the Dirty Strings
Whistlin’ Dixie
Group of the Year
Multi-Genre
DJ Raf n’ Soul & Brass Construction Funk Band
Aaron Ball Band
Ludlow Creek
Down Home
Yonder Grove
LVVRS
Sheila and the Caddo Kats
Derrick Dove & the Peacekeepers
Wicked Peace
Rio and the Rockabilly Revival
Lightnin Rod & the Thunderbolts
Andrew Moore and Hooch
Kristian Montgomery & the Winterkill Band
C4
Group of the Year - Country
JMA ALUM
Cash Creek
Robert Eskridge & Southern Daze
The McKedy Band
J Alan Six Band
Kevin McCoy Band
CW & Twenty Hands High
Traditions Rising
A Band of Jones
Whiskey Crossing
Chase The Night
Southpaw
Group of the Year - Country
Buckwild
Girls Next Door
New Moon Junction
Runaway Angel
Blacktop Rodeo
Junior & The Push
Joe Hess and the Wandering Cowboy
Matt Tejeda and the Backwoods Band
Blacktop Bloodline
Blackwood
Thomas Taylor Band
The Daniel Jordan Band
Stage Performers of the Year
The Chicago Hitmen
Chris Johns
Leon Everette & Sammy Dale
Stephanie Bell – Why Not Me- The Judds
Stephanie Cease – Blondme the Band – Blondie
Jackie Putnam – Patsy Cline
Darion Mancini – Pat Benatar
Ron Starr & 2 Much Fun
One Ugly Cowboy
Sam Fazio
Kelvin J. Wood
Bobby Law and the Late Show
Craig Murphy
Tommy B
Good Clean Fun
Tribute Band of the Year
Big Suit: All-Star Tribute to The Talking Heads
Abbey Road: All-Star Tribute to the Beatles
Key of G Live: Tribute to Garth Brooks
KennyLIVE- The Chesney Experience: Tribute to Kenny Chesney
Gone 2 Paradise: Tribute to Jimmy Buffett
Lone Star Skynyrd: Tribute to Lynyrd Skynyrd
Kick it Out: A Tribute to the Heart Band
Bad Moon Rising: A Tribute to Creedence Clearwater Revival and John Fogerty
The Epic Elvis Experience Staring Ronnie B Elvis & His TCB Band: A Tribute to Elvis Presley
Ocean’s Rat Pack: A Tribute to The Rat Pack
Kid Kentucky & the American BadAss Band: A Tribute to Kid Rock Band
Swan Montgomery: A Tribute to Led Zeppelin
Powerslave: The Iron Maiden Experience A Tribute to Iron Maiden
Forever Abbey Road: A Tribute to The Beatles
Sons of Bocephus: A Tribute to Hank Williams Jr.
End Of The Innocence - A Salute To The Songwriters: A Tribute to Don Henley, Glenn Frey, Dan Fogelberg, Paul McCartney/Wings, & Neil Diamond
Tribute Artist of the Year
Traci Bruccoleri - Are You Ready For It? A Taylor Experience: Tribute to Taylor Swift
Justin Sullivan: A Tribute to Kenny Rogers
Andy & Sarah Jayne Crust - The Country Superstars: A Tribute to Dolly Parton, Patsy Cline, Johnny Cash, Kenny Rogers & more
Robert Neary: A Tribute to Neil Diamond
Ronald Banckaert: A Tribute to Elvis Presley
Annie Aiello - Always Olivia Tribute: A Tribute to Olivia Newton-John
Michael Sugg - The American Ride: A Tribute to Toby Keith
Lisa McClowry - The Beat Goes On: A Tribute to Cher
Paul Wenzel - Made in America: A Tribute to Toby Keith
Kid Kentucky- A Tribute to Kid Rock
Tim Sells: A Tribute to Kenny Rogers
Frank Morrow All My Rowdy Friends: A Tribute to Hank Williams Jr.
Sabrina Plaisance-Sia The Olivia Show: A Tribute to Olivia Newton-John
Kanin Wren, Kanin Wren's "Taylor Swift Experience"
Kenny Holliday: A Tribute to Bon Jovi, Rod Stewart, and David Bowie
Blake Nation – Fake Blake: A Tribute to Blake Shelton
Marvin Thiel: A Tribute to John Denver
Rick Stephenson – His Sinatra: A Tribute to Frank Sinatra
Lisa Polizzi - Janis Joplin Experience: A tribute to Janis Joplin
Dustin Miller – No Fences the Ultimate Garth Brook Experience: A Tribute to Garth Brooks
Best Performance from the 9th Annual Josie Music Awards Event in 2023
Audience Voted at last year's live event. The winner will be revealed at the 10th Annual Josie Music Awards Event
Travis Bowlin
Jay Allen
Hasting
Deborah Allen
Jess Zimmerman Band
Cerissa McQueen
Sammy Sadler
Lady Leah
Auti
Lee Newton
Children's Music Creators/Performers
The Microphone Doctors
Irene Rose
Marsha and the Positrons
Wendy & DB
Lucky Diaz & The Family Jam Band
Hot Toast Music Company
Tara Trudel
Kathryn The Grape
Music Business of the Year
Songwriter “Nashville Ear” Business Support
Christian Songwriters and Musicians International
Southern Fellow
Home Is Where the Art Is
Unity Theatre Company
FHP Events
Teenstock Florida
On Fire Concerts
Sparkle Bright Music Group
Non-Profit Music Business of the Year
Five String Studios
22Zero
Hero Song, Inc.
Rockin For God with Lisa Marie Nicole
Label 22 Recording & Management Company
Recording Studio of the Year
Mill Springs Studio
Railway Music Group
Midnight Studios, LLC.
Sound Mission Studio
MCC Recording Studio
Record Label/Businesses of the Year
Clarksville Creative Sound
Home Team Music
BHP Music – Guitar Trax Records, LLC.
Megalith Nashville Records
Tribeca Records
Heart Song Music Group
The Diamond Discovery
Elite 9 Records
MTS Records
Music Production/Producer - JMA ALUM
TuneDesigner
Curt Ryle
Brian Tarquin
Andrew Chervak
Terran ‘T-Ran’ Gilbert
Julian Sundby
Kitt Wakeley
Justine Blazer
Vocalist of the Year - Under 18-JMA ALUM
Chloee Rae
Blair Kudelka
Cara Bishop
Sienna Rose
Giovanna Bone (Gio)
Emma-Charles Townsend
Robert Levey II
Ashlyn Greene
Faith Parle
Mary Clare Foley
Carrie Brockwell
Austin McKedy
Vocalist of the Year
R&B/Soul
Kenny Sway
CHARM Mobley-Ramsey
Emma Constance
Monroe Chatman
Ado Soul
Vocalist of the Year
Pop/Adult Contemporary
MALE
Jack Austin
James Kocian
Grant Shed
Sal Censoprano
James Reid
Cas du Pree
Nick Psyhogios
FEMALE
Kendra Muecke
Marisa Dawson
Heerraa Ravindran
Amber Nadine
Angelina Saathoff
Auti
Belle Lundon
Maggie Cocco
Katelyn Klickman
Ewelina
Darion Mancini
Taydem Shoesmith
Love Juliet
Jadyn Rylee
Vocalist of the Year - Outlaw
Billy Gray
Shannon Collins
Terry Douglas
Josh Angel
Billy Payne
Savannah Dean Reeves
Russell Lynch
Lee Ellis
Cody Ikerd
Brad Simmonds
Jeff Smithart
Kevin Palmer
Vocalist of the Year
Americana/Folk
FEMALE
Carrie Welling
Jayna Jennings
Leah Fuls
Lauren Anderson
Tai Shan
Jeannie Caryn
Anna Wescoat
Melissa Deaton
Katie Santiago
Gable Hea
Alex Krawczyk
MALE
Jimmy Bowen
Bob Hausler
Brando Vanschcyck
Rick Revel
Chris St. John
Andrew Moore
Coley Williams
Gary Patrick
Philip Lillelund
Ashley Best
Vocalist of the Year
Modern Country - Female
Jennifer Belle
Mychela
Julia Lyons
Sydney Hansen
Rachel Lincoln
Sandra North
Grace Scott
Hailey James
JMA ALUM
Alice Nelson
Alyssa Ruffin
Christine Radlmann
Kamber Cain
Tianna Woods
Tiffany Haseker
Celeste Kellogg
Macy Tabor
Aubrey Hedgepeth
Morgan White
Isabella Love
Marinna Andriopoulos
Vocalist of the Year - Country
MALE
Paul RoseWood
Scott Owens
Kenny Sweet
Bryan Dinkins
Denzel Crabtree
Roy Caudill
Eric Hagen
Michael Dean Lewis
Austin Bohannon
Otis Kerp
Greg Erwin
Michael Sparger
John Spears
Darrell Davis
Coston Cross
MALE - II
Troy Castellano
Brad Collins
Jake Mach
Joe Hess
Caleb Montgomery
Elijah Golden
Todd Tilghman
Kristian Montgomery
Kevin Thomas
Matt VanFossen
Justin Keith
JB Aaron
Martyn Cosgrave
Ron Barrett
MALE JMA ALUM
Mark Blomsteel
Grayson
Sammy Dale
Mark McKinney
Chad Wooten
Chad Bushnell
Donavon Carpenter
Gary Burk III
Ethan Vincil
Dale Houston
Rob Cole
JMA ALUM - II
Trey Calloway
Lance Curtis
Caleb Kelley
Bruce Boudreau
J Alan Six
Rusty VanSickle
Houston Bernard
Jay Tighe
Lloyd Carter
Dustin Chapman
Jason Passmore
Chris Hollacheck
EP of the Year - Country
EP of the Year - Country JMA Alum
Album of the Year - Folk/Americana
Ludlow Creek -Ludlow Creek
Effron White -My Heart Plays These Songs
Jayna Jennings -Southern Gothic Romance
The Brother Boys - New Hillbilly Music: On The Honky Tonk Highway With The Brother Boys
Tai Shan -Lighthouse Heart
Steve Dunfee - Songs From The Road
Joel Astley - Seattle to Greaseland
Rocky Michaels - Wishes
Gene Butler Band - Born Inside A Hard Rock
Stace & Cassie - An Evening With Stace & Cassie - Live In Concert
Bernice Marsala - Burgundy
The Rough & Tumble - Only This Far
Bill Abernathy - More
Sun-Pinned Leaves - Tales From The Great Lakes
Album of the Year - Country Male Alum
Danny Terrell - When It's All Said and Done
Andy Davis - The River
Joe Clark - 10 Years too Late
D Boone Pittman - Resurrection Noise
Laurie LeBlanc - Long Weekend (Double EP - bilingual)
Aaron Carter - This Town
Rusty VanSickle - Stepping Stone
Barefoot Joe - Barefoot Joe
Scott Southworth - Comin' Round To Honky Tonk Again
|
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https://www.vanityfair.com/hollywood/2022/06/elvis-biopic-black-musicians
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en
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Elvis: What Did Black Artists of the Era Really Think of Presley?
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"Erin Vanderhoof",
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2022-06-24T12:27:39.791000-04:00
|
Baz Luhrmann’s Elvis Presley biopic shows the singer in harmony with artists such as B.B. King and Sister Rosetta Tharpe. But how true is that portrayal?
|
en
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https://www.vanityfair.com/verso/static/vanity-fair-global/assets/favicon.ico
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Vanity Fair
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https://www.vanityfair.com/hollywood/2022/06/elvis-biopic-black-musicians
|
In 1994, Ray Charles sat down for an interview with NBC’s Bob Costas and gave a scathing critique of Elvis Presley. “To say that Elvis was so great and so outstanding, like he’s the king…the king of what?” Charles said. “I know too many artists that are far greater”—singers like Nat King Cole, who got assaulted by white audiences for performing rock music, while Elvis received widespread acclaim. “He was doing our kind of music,” Charles said. “So what the hell am I supposed to get so excited about?”
That lacerating sound bite, which went viral in 2020 and twice again this year, sums up a long-held stance against Presley. To some, he was not an extraordinary musical force, but rather a lucky culture vulture who made his name by copying moves from Black artists and covering their songs. Presley, by virtue of his whiteness, profited in ways that Black rock originators never could, and was called the “king” of the genre along the way.
It’s a topic that the new biopic Elvis, directed by Baz Luhrmann and starring a hypnotic Austin Butler, tackles from the side. In the film, Luhrmann highlights artists such as Big Mama Thornton, who sang the original “Hound Dog”; Little Richard, an actual rock originator; Sister Rosetta Tharpe, the electric guitar pioneer; and B.B. King, the blues superstar who had a long, close friendship with Presley. In the film, Presley is in harmony with the Black community. He goes to shows by Black artists, strolls peacefully along Beale Street in Memphis, and goes suit shopping with King. It’s all roses, no thorns. Presley’s only critics are racist white authority figures and white journalists who find his work provocative because of its proximity to Blackness.
But is that the truth of the era? Elvis takes great care to show the origins of the singer’s musical stylings, putting the spotlight on the Black artists who inspired him. It also shows how Presley felt about these musicians (reverent, awestruck), but stops short of showing how they felt about him. Did Big Mama Thornton have an opinion about Presley becoming a superstar by covering her hit song? Similarly, did Sister Rosetta Tharpe or Little Richard care about Presley mimicking their styles for the masses? Was B.B. King really such a big advocate for the future superstar?
The truth about these questions, it turns out, runs the gamut. It’s true that Presley grew up in a poor, mostly Black neighborhood in Tupelo, Mississippi, and, in his youth, attended the Black churches that inspired his deep love of gospel music. As a teenager, when his family moved to Memphis, Tennessee, he would go to the East Trigg Avenue Baptist Church and attend services by Rev. Herbert Brewster, a common pastime for rebellious white teens in the area, according to music writer and filmmaker Nelson George, who worked as a consultant on Elvis. While doing his research, George interviewed numerous Black people who knew Presley when he was young. What did they say? “That he was this weird little white kid,” George told Mojo Media with a laugh. “Elvis was an outlier.”
The movie also accurately portrays Presley’s relationship with B.B. King (played by Kelvin Harrison Jr.). In a 1996 interview with Charlie Rose, the blues icon remembered seeing the singer in the studio in the early 1950s, before he was a star. “He was okay,” King said of Presley’s early output. But as Presley developed, he “started to turn heads, including mine. He had everything. The looks, the talent.” The duo became friendly. As he became more successful, Presley would also help King land gigs. And over the years, King would defend his friend from accusations of cultural theft. “Music is owned by the whole universe,” King said in a 2010 interview. “It isn’t exclusive to the Black man or the white man or any other color.” In his 1996 autobiography, Blues All Around Me, King wrote, “Elvis didn’t steal any music from anyone. He just had his own interpretation of the music he’d grown up on, same is true for everyone. I think Elvis had integrity.”
Little Richard (played by Alton Mason), however, had a differing view from King. In a 1990 interview with Rolling Stone, the architect of rock and roll spoke frankly about how Presley’s whiteness helped his career. “If Elvis had been Black, he wouldn’t have been as big as he was,” Richard said. “If I was white, do you know how huge I’d be? If I was white, I’d be able to sit on top of the White House! A lot of things they would do for Elvis and Pat Boone, they wouldn’t do for me.”
But Richard did credit Presley—and Boone, who covered Richard’s hit “Tutti Frutti” to great acclaim—with helping introduce rock music to white audiences, which benefited some Black artists. He was also friends with Presley, speaking fondly of the singer after his death in 1977. “I love him. That’s my buddy, my baby,” Richard once said. “Elvis is one of the greatest performers who ever lived in this world.”
Though Richard firmly credited himself as the architect of rock and roll in that Rolling Stone interview, he also paid homage to Sister Rosetta Tharpe. The gospel singer (played in Elvis by Yola), who pioneered the use of the electric guitar, was the godmother of rock and also an early influence on Presley. “Elvis loved Sister Rosetta,” said Gordon Stoker, a vocalist for the Jordanaires—a group that sang for both Tharpe and Presley—in Rolling Stone. Presley was especially impressed by the way Tharpe played the guitar. “That’s what really attracted Elvis: her pickin’. He liked her singing, but he liked that pickin’ first—because it was so different.”
But because Presley was designated the king of rock and roll, Tharpe’s influence was overshadowed in popular culture for decades. Even worse, some critics assumed she was copying him, rather than the other way around. In 1970, Tharpe performed at the American Folk, Blues and Gospel Festival in London and was described by one critic as “so rhythmically exciting that when she accompanies herself on guitar she might be a Blacked-up Elvis in drag,” according to Gayle Wald, author of the autobiography Shout, Sister, Shout! The book doesn’t note how Sister Rosetta felt about that review, nor how she felt about Presley specifically.
But while Tharpe’s opinion is more of a mystery, Big Mama Thornton’s is less so. In 1953 the singer (portrayed by Shonka Dukureh in Elvis) released “Hound Dog,” written specifically for her by Jerry Leiber and Mike Stoller, who wanted to showcase Thornton’s booming voice and bawdy personality. Her definitive version of the song was a hit, quickly selling half a million records. A few years later, Presley recorded a cover and sold millions, overshadowing Thornton. To make matters worse, Thornton barely made any money off the song. “I got one check for $500 and never saw another,” she once said.
She soon became embittered by Presley’s success, according to biographer Michael Spörke, who wrote Big Mama Thornton: The Life and Music. During a 1969 performance at the Newport Folk Festival, she referred to “Hound Dog” as “the record I made Elvis Presley rich on.” At another concert, she called it “a song I got robbed of.” At yet another, she launched into the song, then stopped, turning around and glaring at her drummer. “This ain’t no Elvis Presley song, son,” she said, according to Spörke. She then kicked the drummer off his seat and showed him the right way to play it, giving him a lesson in front of the audience. This was apparently a regular occurrence, a theatrical way for Thornton to pull the song out from under Presley’s shadow—long before Lurhmann, or anyone else, tried to do it for her.
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Lincoln Center
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The world's leading performing arts center. The best in music, dance, opera, theater, cinema, and more.
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en
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/assets/images/favicon.ico?v=v15.0.0
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https://lincolncenter.org/series/lincoln-center-presents
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Member Pre-sale for the fall 2024 season: September 5
General On-sale: September 10
To access exclusive benefits, explore membership today.
Our goal is to continue exploring new ticketing practices together as a community to make our performances more accessible to more people and to center equity and inclusion in every aspect of our field. The majority of Lincoln Center Presents programs are FREE or Choose-What-You-Pay. Please refer to the dedicated event page of the show you’d like to attend to confirm ticketing options.
Free General Admission Events
Many performances and events, including all programming at the David Rubenstein Atrium, are available for FREE via General Admission—first-come, first-served. Advance reservations are not required for these events; just show up! While we'll do our best to accommodate as many guests as possible, we cannot guarantee admission. Look for the “FREE” label on calendar listings and show pages, or select the “Free” calendar filter to search for a wide range of free programming.
Free Fast Track Option
All Lincoln Center Presents events at the David Rubenstein Atrium offer a Fast Track reservation option, giving priority entry into events. Reservations for Fast Track will open every Monday at noon for that week's events and can be reserved on this page. While event admission is not guaranteed, Fast Track reservation holders will have priority entry over the General Admission line up until 30 minutes before show time. Please check the event's dedicated web page to confirm if Fast Track is available for the performance you'd like to attend.
Choose-What-You-Pay Events
Choose-What-You-Pay tickets to the Lincoln Center Presents fall 2024 season go on sale on September 10 at noon; Member Pre-sale begins September 5 at noon.
With Choose-What-You-Pay ticketing, you decide what's right for you. We offer a suggested ticket price, as well as options to pay more or less. The minimum ticket price is $5.00.
3 Ways to Buy Tickets
There are three ways to purchase Choose-What-You-Pay and full-price tickets.
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https://www.themarginalian.org/2015/01/12/33-artists-in-3-acts-thornton/
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en
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Some of Today’s Most Prominent Artists on Courage, Creativity, Criticism, Success, and What It Means to Be a Great Artist
|
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[
"Maria Popova"
] |
2015-01-12T00:00:00
|
Wisdom from Ai Weiwei, Marina Abramovic, Damien Hirst, Laurie Simmons, Carroll Dunham, and more.
|
en
|
https://www.themarginalian.org/wp-content/themes/themarginalian/images/favicon.ico
|
The Marginalian
|
https://www.themarginalian.org/2015/01/12/33-artists-in-3-acts-thornton/
|
“Whether you succeed or not is irrelevant — there is no such thing,” Georgia O’Keeffe wrote in her spectacular letter to Sherwood Anderson. “Making your unknown known is the important thing — and keeping the unknown always beyond you…” And yet, as human beings, we orient ourselves in the darkness of the unknown by grasping blindly for familiar points of reference, seeking to construct a compass out of similarities and contrasts relative to our familiar world, and out of those we try to construct a framework for what we call success. This is especially true of such nebulous subjects as art, where there is no true North, no universal gold standard of success, so we seek tangibles — like the market — to orient ourselves in the maze of merit. The result can be a great crisis of confidence in artists and a great arrogance in audiences, leaving us still more unsure, as individuals and as a culture, of what makes great art and what it really means to be an artist.
In 33 Artists in 3 Acts (public library) — a belated but wildly worthy addition to the best art books of 2014 — journalist Sarah Thornton sets out to answer these delicate but crucial questions by peering into “the nature of being a professional artist today” and “how artists move through the world and explain themselves” via visits and conversations with such titans of contemporary art as Marina Abramović, Ai Weiwei, Yayoi Kusama, Laurie Simmons, Jeff Koons, Damien Hirst, and Cindy Sherman. Thornton spent four years traveling several hundred miles to interview 130 artists, of whom she chose 33 — those most “open, articulate, and honest,” who fall “at diverse points along the following spectrums: entertainer versus academic, materialist versus idealist, narcissist versus altruist, loner versus collaborator” — hailing from five continents and fourteen countries. She then divided the great sensemaking task of her project into three umbrella themes — politics, which examines the relationship between the artists’ work and their ethics, attitude to power, and sense of civic responsibility, with a special focus on freedom of speech and human rights; kinship, which explores the ecosystem of peers, influences, and patrons of which Art is woven, all the way from the large-scale creative lineage of inspirations to one actual nuclear family: photographer Laurie Simmons, painter Carroll Dunham, and writer-actor-director Lena Dunham; and craft, a survey of the practicalities of art, from skills to routines to studio spaces.
Thornton writes in the introduction:
Artists don’t just make art. They create and preserve myths… In a sphere where anything can be art, there is no objective measurement of quality, so ambitious artists must establish their own standards of excellence. Generating such standards requires not only immense self-confidence, but the conviction of others. Like competing deities, artists today need to perform in ways that yield a faithful following.
Echoing Ursula K. Le Guin’s wryly wise assertion that “all the arts are performance arts, only some of them are sneakier about it than others,” Thornton — who later notes that “everyone’s personal history is a creatively edited story” — adds:
The walk and talk of an artist has to persuade, not just others but the performers themselves. Whether they have colorful, large-scale personas or minimal, low-key selves, believable artists are always protagonists, never secondary characters who inhabit stereotypes. For this reason, I see artists’ studios as private stages for the daily rehearsal of self-belief.
Nowhere is this interplay between the public and private personae more central to the process and product of art than in performance art itself. For her now-legendary 2010 MoMA show The Artist Is Present, Marina Abramović — an artist who sees “immaterial energy” as her medium and believes that “nonverbal interaction is the highest form of communication” — sat in a wooden chair for more than 700 hours as she offered “unconditional love to complete strangers” — some half a million of them, many of whom were moved to tears in the presence of such piercing intensity.
But for the grand dame of performance art herself, the experience required a Buddhist-like quality of presence, a Buddhist-like attitude of welcoming everything that is. She tells Thornton:
Your shoulders drop, your legs swell, your ribs sink down into your organs… When you have so much pain, you think you will lose consciousness. If you say to yourself, ‘So what, lose consciousness,’ the pain goes away.
But Abramović, who indeed heeds the teachings of Tibetan monks, seeks not the showmanship but the higher purpose of such experiences. Her medium is, above all, the human spirit — something she handles with meticulous care and deep respect, with staunch opposition to nihilism, and always with an eye toward the essential sense of purpose that nourishes the human experience. That her art would take on the hues of a secular cult is neither accidental nor surprising. She tells Thornton with conviction “like a hurricane-force wind”:
Many people spend so much time doubting. Before you choose a profession, you have to stand still, close your eyes and think: who am I? … You know you are an artist when you have the urge to create, but this doesn’t make you a great artist. Great artists result from the sacrifices that you make to your personal life.
She sees the role of the artist as E.B. White saw the role of the writer, and as William Faulkner did in his Nobel Prize acceptance speech, extolling the writer’s duty “to help man endure by lifting his heart.” Abramović tells Thornton:
The public is in need of experiences that are not just voyeuristic. Our society is in a mess of losing its spiritual center… Artists should be the oxygen of society. The function of the artist in a disturbed society is to give awareness of the universe, to ask the right questions, to open consciousness and elevate the mind.
Perhaps because these deeper desires for meaning are so quintessential and universal, Abramović echoes young Virginia Woolf’s belief that all art merely imitates nature and negates the notion of creative influence between artists:
I have never been influenced by another artist… I like to go to the source, to all the places in nature that have a certain energy that you can absorb and translate into your own creativity as an artist.
And yet, as an artist who wholeheartedly embraces her contradictions — Abramović is a vegetarian, doesn’t drink, fasts regularly, yet freely admits to loving fashion — she acknowledges the arrogant myth of originality:
We can’t invent anything in this world which is not there already. It’s about seeing in a different way. Anything that is revolutionary is in front of your nose and it is never complicated. But you don’t see it until you have a safe mind. Performance can help people to get into a state of mind to perceive the simplicity.
Even so, Abramović is a relentless proponent and practitioner of self-reinvention and risk-taking as the ultimate duty of the artist:
When you repeat, you really lose respect for yourself… For me, the studio is a trap to overproduce and repeat yourself. It is a habit that leads to art pollution. Nothing new happens. You don’t surprise yourself. Artists are here to risk, to find new territory. Risk, especially when you are a known artist, includes failing. It is an essential part of process. Failure is healthy for your ego.
Chinese artist, authority-provocateur, and human rights activist Ai Weiwei has made risk-taking his medium, having dedicated his life to challenging his country’s long history of muffling free speech under a blanket of government propaganda and outright, often militant suppression — a mission that has landed him under arrest, led the Chinese authorities to completely wipe his writing from the country’s patch of the internet, and on one occasion resulted in undercover police pulling a black hood over his head, throwing him into a van, and driving him to a hotel two hours away, where he was kept for two weeks before being transferred into a high-security military compound to endure more than fifty interrogations while handcuffed to a chair. He tells Thornton via translator:
Criticism and finding trouble is, in the Chinese context, a positive, creative act.
But it was precisely this trouble-finding creativity that his father, Ai Qing — who was among the intellectuals exiled during the anti-rightist campaign preceding China’s Cultural Revolution — tried to discourage in young Ai, adamantly demanding that his son be anything but an artist. Ai Weiwei tells Thornton:
He always said forget about literature or art. Be an honest worker. [But] I became an artist because, under such pressure, my father still had somewhere nobody could touch. Even when the whole world was dark, there was something warm in his heart.
And yet under threats from the Red Guards to punish his family, Ai Qing gave up poetry and ended up cleaning the public toilets in a village in a remote Chinese province. Ai Weiwei recalls:
Only in the movies or in the Nazi time could you see things like that. It was very frustrating because this man was not a criminal. But people threw stones at him; the children used sticks to beat him; they poured ink on his head — all kinds of strange things in the name of justice and reeducation. The village people didn’t even know what he had done wrong. They just knew he was the enemy.
This early and deep sense of injustice became the raw material for Ai’s art and the lens through which he views the role of art in society, and yet he describes himself as an “eternal optimist” and tells Thornton:
Art is a mental activity, an attitude, a lifestyle.
With an eye to the endangered art of being alone, he considers the relationship between art and activism, the fusion of which defines his own work:
If you have never felt lonely, you should become an activist. Loneliness is a valuable feeling. Artists need to know how to walk alone.
His views on fame both parallel Einstein’s and better honor the complexity of the subject as he tells Thornton:
It comes too quick, too much. It is kind of ridiculous but I have good intentions. Fame needs to have content. If you use it for a purpose, it becomes different. So I am very happy that I have this chance to always speak my mind.
Although he recognizes the great hunger for commercial success in art today, Ai’s opinion of such aspirations is unambivalent. Thornton writes:
In his opinion, to be a “business artist” requires two qualities: “emptiness and shamelessness”… Emptiness and shamelessness are not uncommon in Western art, I say. Some of the most successful artists appear to be nihilists who don’t believe in much other than themselves and the luxury goods market. Ai nods. “For them, art has become pure play, lacking any essential truth,” he says.
This unflinching dedication to truth shows in Ai’s definition of authenticity, which he offers Thornton after a moment of reflection:
[Authenticity] is a habit. It is a road we are comfortable with.
[…]
Being somebody is being yourself. An artist’s success is part of the downside. You can lose yourself. Being yourself is a very difficult game.
Painter Carroll Dunham offers a complementary perspective on this delicate relationship between sense of self and artistic success:
A long career in the art world is hard on the ego.
[…]
The most fun time to be an artist is when you are young and when you are old… Getting through the weird middle period with a sense that you’ve kept growing is a challenge.
Photographer Laurie Simmons — Dunham’s wife and the other half of their self-described “classic extrovert-introvert couple” — considers the trajectory of one’s relationship with criticism over this long game of an artist’s career:
When you’re younger and get a bad review, you think they hate you. It’s the recovery time that changes. You have to know how to pick yourself up, brush yourself off, and get back to work. That’s the key to maturity. It’s what divides the artists that do what they do from those who are not up to it.
[…]
When you are younger, you think about eradicating self-doubt. But, as you age, you understand that it is part of the rhythm of being an artist. As I get older, I have developed my ability to examine self-doubt in private, to play around with it, rather than push it away.
Echoing Sherwin Nuland’s undying wisdom on what everybody needs, Dunham considers the heart of what makes criticism burn:
Negative commentary makes you feel misunderstood. So I often say to myself, “Apparently, I haven’t been clear enough with you people!”
[…]
Interesting artworks are always hypotheses about what an artwork could be… Why would anyone think that new art should resemble what art already looks like?
Echoing Jeanette Winterson’s spectacular meditation on art and the arrogance of the audience, Dunham adds:
The general public doesn’t understand art so they think that a con has been perpetrated on them.
And yet artists, he suggests, do perpetrate cons when they take market over mystery and deploy cheap tricks like surface shock value in lieu of deeper inquiries into the human experience, which is itself shocking in a much more profound way:
Shock is just another move in the entertainment complex. It’s bullshit. Who are you supposed to shock? Rich hedge fund managers? Do you find the fact that you’re going to die shocking? I do. Art can bracket those human conditions. It can cause you to have a moment of insight.
In those moments, Dunham argues, the viewer is rolfed by creative communion with the artist:
You know the difference between a soothing back rub and truly deep bodywork. The latter is not pleasant while it’s happening but afterward you feel quite changed from it. Shock, awe, whatever. I’m not looking for a back rub from art. I’m looking for something that feels like it matters.
Simmons adds a piercing articulation of the great, disquieting fact of creative work, embracing which sets great creators apart:
Any work that is really great hovers between terrific and terrible.
Calling to mind Amanda Palmer’s exquisite definition of what makes one a “real” artist, Dunham later adds:
There is this reverb. You have to make art to be an artist, but you have to be an artist to make art. It’s about getting your self-representation and your actual activities into alignment. I’ve gone through moments where I thought ‘I hate this, I don’t want to do it anymore,’ but I always come back to the fact there isn’t anything else that would better suit my sense of who I am.
It’s hard to imagine that such strong opinions and unflinching dedication to the integrity of art wouldn’t be passed on to Dunham and Simmons’s daughter, Lena Dunham — herself one of the most courageous creative mavericks of our time. In a testament to the notion that parental presence rather than praise fosters a healthy relationship with achievement, Dunham — who defines creativity as “an ineffable bug that takes you over but also something that you can learn” — reflects on the creative conditions and conditioning of her childhood:
I was given the tools, the space, and the support to do whatever I wanted. New approaches to old problems were encouraged… My parents taught me that you can have a creative approach to thinking that is almost scientific. You don’t have to be at the mercy of the muse. You need your own internalized thinking process that you can perform again and again.
She considers the rewards of the creative life:
As an artist, you get the opportunity to write the world — or create the world — that exists in your fantasies. It’s a really beautiful thing to do.
But beautiful as the overall sense of purpose might be, the fantasy-world of this inward gaze often requires being intensely present with one’s darker demons:
The kind of shame I deal with in my work is about returning to the scene of the crime with all my senses operating. I agree with Woody Allen’s theory that tragedy plus distance equals comedy.
(It should be noted that Dunham’s conversation with Thornton took place before Woody Allen rendered himself existentially disagreeable — “nauseating,” even — to Dunham and to many of us.)
Legendary Italian curator Massimiliano Gioni — whose inclusion in Thornton’s survey springs from her belief that “curators are vital cocreators of the myths” — offers a complementary take on this notion of art as a conduit to self-knowledge, folding into it a necessary dissent with our culture’s dominant definitions of what makes an artist:
Our media understanding of an artist as a successful professional who makes entertaining objects that sell for a lot of money is very restrictive. Artists are people who do things with images in order to understand the world. They have a fierce desire to know themselves.
In a related sentiment, Turkish filmmaker and contemporary artist Kutlug Ataman elegantly captures the essential tension between culture and commerce with which all artists must tussle:
Art that goes forward can take a long time to be understood, whereas art that moves sideways — that is just elaborating — can be very commercial… As an artist, you have to decide which way you want to go.
That choice is often mired in the question of originality — something that recurs across Thornton’s interviews, and a subject of ambivalent skepticism for artists long before Mark Twain’s famous proclamation that “all ideas are second-hand, consciously and unconsciously drawn from a million outside sources.” Visual artist and composer Christian Marclay offers an insightful perspective on this role of the borrowed and the begotten in creative work:
Am I being original this morning? You sense the wonder of discovery when you’re doing something that feels new… But, who knows, maybe someone has been there before. Every image that I use is from someone else. But you can be original in what you steal and how you display your bounty.
33 Artists in 3 Acts is a superb read in its hefty totality. Thornton herself embodies what one of her subjects, the great Italian curator Francesco Bonami, observed of his profession — that curation is “about taking care of the artist” — as her own immeasurable insight on the creative experience illuminates and elevates the artists who entrust their ideas in her care.
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