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2010-12-25T01:42:34+00:00
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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://mischiefusa.com/
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Ever heard Big Mama Thornton’s recording of “Hound Dog”? Great song. Would recommend.
We bring it up because, near the end, a musician is heard barking.
When asked about this seemingly inspired moment during an interview, the backup man reportedly said: “I was going to meow, but that was too hip for them.”
And therein lies the secret to clients surviving in today’s ever-crowded landscape.
To bark at the end of a song called “Hound Dog” is clever, but not necessarily genius or unpredictable. It’s just clever enough for people to think they are buying into something creative. It’s the safe side of risky.
But to meow is inspired.
Meowing has edge, a backstory. It stays with you after the music has left.
We as an industry are often too tempted by the bark––the safe one.
Mischief meows.
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https://en.wikipedia.org/wiki/John_Ruskin
|
English writer and art critic (1819–1900)
This article is about the art critic. For the painting by Millais, see John Ruskin (Millais). For the Canadian media personality, see Nardwuar.
John Ruskin (8 February 1819 – 20 January 1900) was an English writer, philosopher, art historian, art critic and polymath of the Victorian era. He wrote on subjects as varied as geology, architecture, myth, ornithology, literature, education, botany and political economy.
Ruskin was heavily engaged by the work of Viollet-le-Duc which he taught to all his pupils including William Morris, notably Viollet-le-Duc's Dictionary, which he considered as "the only book of any value on architecture".[1] Ruskin's writing styles and literary forms were equally varied. He wrote essays and treatises, poetry and lectures, travel guides and manuals, letters and even a fairy tale. He also made detailed sketches and paintings of rocks, plants, birds, landscapes, architectural structures and ornamentation. The elaborate style that characterised his earliest writing on art gave way in time to plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature, art and society.
Ruskin was hugely influential in the latter half of the 19th century and up to the First World War. After a period of relative decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognised as having anticipated interest in environmentalism, sustainability and craft.
Ruskin first came to widespread attention with the first volume of Modern Painters (1843), an extended essay in defence of the work of J. M. W. Turner in which he argued that the principal role of the artist is "truth to nature". From the 1850s, he championed the Pre-Raphaelites, who were influenced by his ideas. His work increasingly focused on social and political issues. Unto This Last (1860, 1862) marked the shift in emphasis. In 1869, Ruskin became the first Slade Professor of Fine Art at the University of Oxford, where he established the Ruskin School of Drawing. In 1871, he began his monthly "letters to the workmen and labourers of Great Britain", published under the title Fors Clavigera (1871–1884). In the course of this complex and deeply personal work, he developed the principles underlying his ideal society. As a result, he founded the Guild of St George, an organisation that endures today.
Early life (1819–1846)
[edit]
Genealogy
[edit]
Ruskin was the only child of first cousins.[2] His father, John James Ruskin (1785–1864), was a sherry and wine importer,[2] founding partner and de facto business manager of Ruskin, Telford and Domecq (see Allied Domecq). John James was born and brought up in Edinburgh, Scotland, to a mother from Glenluce and a father originally from Hertfordshire.[2][3] His wife, Margaret Cock (1781–1871), was the daughter of a publican in Croydon.[2] She had joined the Ruskin household when she became companion to John James's mother, Catherine.[2]
John James had hoped to practise law, and was articled as a clerk in London.[2] His father, John Thomas Ruskin, described as a grocer (but apparently an ambitious wholesale merchant), was an incompetent businessman. To save the family from bankruptcy, John James, whose prudence and success were in stark contrast to his father, took on all debts, settling the last of them in 1832.[2] John James and Margaret were engaged in 1809, but opposition to the union from John Thomas, and the problem of his debts, delayed the couple's wedding. They finally married, without celebration, in 1818.[4] John James died on 3 March 1864 and is buried in the churchyard of St John the Evangelist, Shirley, Croydon.
Childhood and education
[edit]
Ruskin was born on 8 February 1819 at 54 Hunter Street, Brunswick Square, London (demolished 1969), south of St Pancras railway station.[5] His childhood was shaped by the contrasting influences of his father and mother, both of whom were fiercely ambitious for him. John James Ruskin helped to develop his son's Romanticism. They shared a passion for the works of Byron, Shakespeare and especially Walter Scott. They visited Scott's home, Abbotsford, in 1838, but Ruskin was disappointed by its appearance.[6] Margaret Ruskin, an evangelical Christian, more cautious and restrained than her husband, taught young John to read the Bible from beginning to end, and then to start all over again, committing large portions to memory. Its language, imagery and parables had a profound and lasting effect on his writing.[7] He later wrote:
She read alternate verses with me, watching at first, every intonation of my voice, and correcting the false ones, till she made me understand the verse, if within my reach, rightly and energetically.
— Praeterita, XXXV, 40
Ruskin's childhood was spent from 1823 at 28 Herne Hill (demolished c. 1912), near the village of Camberwell in South London.[8] He had few friends of his own age, but it was not the friendless and toyless experience he later said it was in his autobiography, Praeterita (1885–89).[5] He was educated at home by his parents and private tutors, including Congregationalist preacher Edward Andrews,[9] whose daughters, Mrs Eliza Orme and Emily Augusta Patmore were later credited with introducing Ruskin to the Pre-Raphaelite Brotherhood.[10]
From 1834 to 1835 he attended the school in Peckham run by the progressive evangelical Thomas Dale (1797–1870).[11] Ruskin heard Dale lecture in 1836 at King's College, London, where Dale was the first Professor of English Literature.[5] Ruskin went on to enrol and complete his studies at King's College, where he prepared for Oxford under Dale's tutelage.[12][13]
Travel
[edit]
Ruskin was greatly influenced by the extensive and privileged travels he enjoyed in his childhood. It helped to establish his taste and augmented his education. He sometimes accompanied his father on visits to business clients at their country houses, which exposed him to English landscapes, architecture and paintings. Family tours took them to the Lake District (his first long poem, Iteriad, was an account of his tour in 1830)[14] and to relatives in Perth, Scotland. As early as 1825, the family visited France and Belgium. Their continental tours became increasingly ambitious in scope: in 1833 they visited Strasbourg, Schaffhausen, Milan, Genoa and Turin, places to which Ruskin frequently returned. He developed a lifelong love of the Alps, and in 1835 visited Venice for the first time,[15] that 'Paradise of cities' that provided the subject and symbolism of much of his later work.
These tours gave Ruskin the opportunity to observe and record his impressions of nature. He composed elegant, though mainly conventional poetry, some of which was published in Friendship's Offering. His early notebooks and sketchbooks are full of visually sophisticated and technically accomplished drawings of maps, landscapes and buildings, remarkable for a boy of his age. He was profoundly affected by Samuel Rogers's poem Italy (1830), a copy of which was given to him as a 13th birthday present; in particular, he deeply admired the accompanying illustrations by J. M. W. Turner. Much of Ruskin's own art in the 1830s was in imitation of Turner, and of Samuel Prout, whose Sketches Made in Flanders and Germany (1833) he also admired. His artistic skills were refined under the tutelage of Charles Runciman, Copley Fielding and J. D. Harding.
First publications
[edit]
Ruskin's journeys also provided inspiration for writing. His first publication was the poem "On Skiddaw and Derwent Water" (originally entitled "Lines written at the Lakes in Cumberland: Derwentwater" and published in the Spiritual Times) (August 1829). In 1834, three short articles for Loudon's Magazine of Natural History were published. They show early signs of his skill as a close "scientific" observer of nature, especially its geology.
From September 1837 to December 1838, Ruskin's The Poetry of Architecture was serialised in Loudon's Architectural Magazine, under the pen name "Kata Phusin" (Greek for "According to Nature"). It was a study of cottages, villas, and other dwellings centred on a Wordsworthian argument that buildings should be sympathetic to their immediate environment and use local materials. It anticipated key themes in his later writings. In 1839, Ruskin's "Remarks on the Present State of Meteorological Science" was published in Transactions of the Meteorological Society.
Oxford
[edit]
In Michaelmas 1836, Ruskin matriculated at the University of Oxford, taking up residence at Christ Church in January of the following year.[22] Enrolled as a gentleman-commoner, he enjoyed equal status with his aristocratic peers. Ruskin was generally uninspired by Oxford and suffered bouts of illness. Perhaps the greatest advantage of his time there was in the few, close friendships he made. His tutor, the Rev Walter Lucas Brown, always encouraged him, as did a young senior tutor, Henry Liddell (later the father of Alice Liddell) and a private tutor, the Reverend Osborne Gordon.[23] He became close to the geologist and natural theologian William Buckland. Among his fellow undergraduates, Ruskin's most important friends were Charles Thomas Newton and Henry Acland.
His most noteworthy success came in 1839 when, at the third attempt, he won the prestigious Newdigate Prize for poetry (Arthur Hugh Clough came second).[24] He met William Wordsworth, who was receiving an honorary degree, at the ceremony.
Ruskin's health was poor and he never became independent from his family during his time at Oxford. His mother took lodgings on High Street, where his father joined them at weekends. He was devastated to hear that his first love, Adèle Domecq, the second daughter of his father's business partner, had become engaged to a French nobleman. In April 1840, whilst revising for his examinations, he began to cough blood, which led to fears of consumption and a long break from Oxford travelling with his parents.[25]
Before he returned to Oxford, Ruskin responded to a challenge that had been put to him by Effie Gray, whom he later married: the twelve-year-old Effie had asked him to write a fairy story. During a six-week break at Leamington Spa to undergo Dr Jephson's (1798–1878) celebrated salt-water cure, Ruskin wrote his only work of fiction, the fable The King of the Golden River (not published until December 1850 (but imprinted 1851), with illustrations by Richard Doyle). A work of Christian sacrificial morality and charity, it is set in the Alpine landscape Ruskin loved and knew so well. It remains the most translated of all his works.[27] Back at Oxford, in 1842 Ruskin sat for a pass degree, and was awarded an uncommon honorary double fourth-class degree in recognition of his achievements.[28]
Modern Painters I (1843)
[edit]
For much of the period from late 1840 to autumn 1842, Ruskin was abroad with his parents, mainly in Italy. His studies of Italian art were chiefly guided by George Richmond, to whom the Ruskins were introduced by Joseph Severn, a friend of Keats (whose son, Arthur Severn, later married Ruskin's cousin, Joan). He was galvanised into writing a defence of J. M. W. Turner when he read an attack on several of Turner's pictures exhibited at the Royal Academy. It recalled an attack by the critic Rev John Eagles in Blackwood's Magazine in 1836, which had prompted Ruskin to write a long essay. John James had sent the piece to Turner, who did not wish it to be published. It finally appeared in 1903.[29]
Before Ruskin began Modern Painters, John James Ruskin had begun collecting watercolours, including works by Samuel Prout and Turner. Both painters were among occasional guests of the Ruskins at Herne Hill, and 163 Denmark Hill (demolished 1947) to which the family moved in 1842.
What became the first volume of Modern Painters (1843), published by Smith, Elder & Co. under the anonymous authority of "A Graduate of Oxford", was Ruskin's answer to Turner's critics.[30] Ruskin controversially argued that modern landscape painters—and in particular Turner—were superior to the so-called "Old Masters" of the post-Renaissance period. Ruskin maintained that, unlike Turner, Old Masters such as Gaspard Dughet (Gaspar Poussin), Claude, and Salvator Rosa favoured pictorial convention, and not "truth to nature". He explained that he meant "moral as well as material truth". The job of the artist is to observe the reality of nature and not to invent it in a studio—to render imaginatively on canvas what he has seen and understood, free of any rules of composition. For Ruskin, modern landscapists demonstrated superior understanding of the "truths" of water, air, clouds, stones, and vegetation, a profound appreciation of which Ruskin demonstrated in his own prose. He described works he had seen at the National Gallery and Dulwich Picture Gallery with extraordinary verbal felicity.
Although critics were slow to react and the reviews were mixed, many notable literary and artistic figures were impressed with the young man's work, including Charlotte Brontë and Elizabeth Gaskell.[32] Suddenly Ruskin had found his métier, and in one leap helped redefine the genre of art criticism, mixing a discourse of polemic with aesthetics, scientific observation and ethics. It cemented Ruskin's relationship with Turner. After the artist died in 1851, Ruskin catalogued nearly 20,000 sketches that Turner gave to the British nation.
1845 tour and Modern Painters II (1846)
[edit]
Ruskin toured the continent with his parents again during 1844, visiting Chamonix and Paris, studying the geology of the Alps and the paintings of Titian, Veronese and Perugino among others at the Louvre. In 1845, at the age of 26, he undertook to travel without his parents for the first time. It provided him with an opportunity to study medieval art and architecture in France, Switzerland and especially Italy. In Lucca he saw the Tomb of Ilaria del Carretto by Jacopo della Quercia, which Ruskin considered the exemplar of Christian sculpture (he later associated it with the then object of his love, Rose La Touche). He drew inspiration from what he saw at the Campo Santo in Pisa, and in Florence. In Venice, he was particularly impressed by the works of Fra Angelico and Giotto in St Mark's Cathedral, and Tintoretto in the Scuola di San Rocco, but he was alarmed by the combined effects of decay and modernisation on the city: "Venice is lost to me", he wrote.[33] It finally convinced him that architectural restoration was destruction, and that the only true and faithful action was preservation and conservation.
Drawing on his travels, he wrote the second volume of Modern Painters (published April 1846). The volume concentrated on Renaissance and pre-Renaissance artists rather than on Turner. It was a more theoretical work than its predecessor. Ruskin explicitly linked the aesthetic and the divine, arguing that truth, beauty and religion are inextricably bound together: "the Beautiful as a gift of God". In defining categories of beauty and imagination, Ruskin argued that all great artists must perceive beauty and, with their imagination, communicate it creatively by means of symbolic representation. Generally, critics gave this second volume a warmer reception, although many found the attack on the aesthetic orthodoxy associated with Joshua Reynolds difficult to accept.[36] In the summer, Ruskin was abroad again with his father, who still hoped his son might become a poet, even poet laureate, just one among many factors increasing the tension between them.
Middle life (1847–1869)
[edit]
Marriage to Effie Gray
[edit]
During 1847, Ruskin became closer to Euphemia "Effie" Gray, the daughter of family friends. It was for her that Ruskin had written The King of the Golden River. The couple were engaged in October. They married on 10 April 1848 at her home, Bowerswell, in Perth, once the residence of the Ruskin family.[38] It was the site of the suicide of John Thomas Ruskin (Ruskin's grandfather). Owing to this association and other complications, Ruskin's parents did not attend. The European Revolutions of 1848 meant that the newlyweds' earliest travels together were restricted, but they were able to visit Normandy, where Ruskin admired the Gothic architecture.
Their early life together was spent at 31 Park Street, Mayfair, secured for them by Ruskin's father (later addresses included nearby 6 Charles Street, and 30 Herne Hill). Effie was too unwell to undertake the European tour of 1849, so Ruskin visited the Alps with his parents, gathering material for the third and fourth volumes of Modern Painters. He was struck by the contrast between the Alpine beauty and the poverty of Alpine peasants, stirring his increasingly sensitive social conscience.
The marriage was unhappy, with Ruskin reportedly being cruel to Effie and distrustful of her.[39] The marriage was never consummated and was annulled six years later in 1854.[40]
Architecture
[edit]
Ruskin's developing interest in architecture, and particularly in the Gothic, led to the first work to bear his name, The Seven Lamps of Architecture (1849). It contained 14 plates etched by the author. The title refers to seven moral categories that Ruskin considered vital to and inseparable from all architecture: sacrifice, truth, power, beauty, life, memory and obedience. All would provide recurring themes in his future work. Seven Lamps promoted the virtues of a secular and Protestant form of Gothic. It was a challenge to the Catholic influence of architect A. W. N. Pugin.
The Stones of Venice
[edit]
In November 1849, John and Effie Ruskin visited Venice, staying at the Hotel Danieli.[42] Their different personalities are revealed by their contrasting priorities. For Effie, Venice provided an opportunity to socialise, while Ruskin was engaged in solitary studies. In particular, he made a point of drawing the Ca' d'Oro and the Doge's Palace, or Palazzo Ducale, because he feared that they would be destroyed by the occupying Austrian troops. One of these troops, Lieutenant Charles Paulizza, became friendly with Effie, apparently with Ruskin's consent. Her brother, among others, later claimed that Ruskin was deliberately encouraging the friendship to compromise her, as an excuse to separate.
Meanwhile, Ruskin was making the extensive sketches and notes that he used for his three-volume work The Stones of Venice (1851–53).[43][44] Developing from a technical history of Venetian architecture from the Byzantine to the Renaissance, into a broad cultural history, Stones represented Ruskin's opinion of contemporary England. It served as a warning about the moral and spiritual health of society. Ruskin argued that Venice had degenerated slowly. Its cultural achievements had been compromised, and its society corrupted, by the decline of true Christian faith. Instead of revering the divine, Renaissance artists honoured themselves, arrogantly celebrating human sensuousness.
The chapter, "The Nature of Gothic" appeared in the second volume of Stones. Praising Gothic ornament, Ruskin argued that it was an expression of the artisan's joy in free, creative work. The worker must be allowed to think and to express his own personality and ideas, ideally using his own hands, rather than machinery.
We want one man to be always thinking, and another to be always working, and we call one a gentleman, and the other an operative; whereas the workman ought often to be thinking, and the thinker often to be working, and both should be gentlemen, in the best sense. As it is, we make both ungentle, the one envying, the other despising, his brother; and the mass of society is made up of morbid thinkers and miserable workers. Now it is only by labour that thought can be made healthy, and only by thought that labour can be made happy, and the two cannot be separated with impunity.
— John Ruskin, The Stones of Venice vol. II: Cook and Wedderburn 10.201.
This was both an aesthetic attack on, and a social critique of, the division of labour in particular, and industrial capitalism in general. This chapter had a profound effect, and was reprinted both by the Christian socialist founders of the Working Men's College and later by the Arts and Crafts pioneer and socialist William Morris.[46]
Pre-Raphaelites
[edit]
John Everett Millais, William Holman Hunt and Dante Gabriel Rossetti had established the Pre-Raphaelite Brotherhood in 1848. The Pre-Raphaelite commitment to 'naturalism' – "paint[ing] from nature only", depicting nature in fine detail, had been influenced by Ruskin.
Ruskin became acquainted with Millais after the artists made an approach to Ruskin through their mutual friend Coventry Patmore.[49] Initially, Ruskin had not been impressed by Millais's Christ in the House of His Parents (1849–50), a painting that was considered blasphemous at the time, but Ruskin wrote letters defending the Pre-Raphaelite Brotherhood to The Times during May 1851. Providing Millais with artistic patronage and encouragement, in the summer of 1853 the artist (and his brother) travelled to Scotland with Ruskin and Effie where, at Glen Finglas, he painted the closely observed landscape background of gneiss rock to which, as had always been intended, he later added Ruskin's portrait.
Millais had painted a picture of Effie for The Order of Release, 1746, exhibited at the Royal Academy in 1852. Suffering increasingly from physical illness and acute mental anxiety, Effie was arguing fiercely with her husband and his intense and overly protective parents, and sought solace with her own parents in Scotland. The Ruskin marriage was already undermined as she and Millais fell in love, and Effie left Ruskin, causing a public scandal.
During April 1854, Effie filed her suit of nullity, on grounds of "non-consummation" owing to his "incurable impotency",[51][52] a charge Ruskin later disputed.[53] Ruskin wrote, "I can prove my virility at once."[54] The annulment was granted in July. Ruskin did not even mention it in his diary. Effie married Millais the following year. The complex reasons for the non-consummation and ultimate failure of the Ruskin marriage are a matter of enduring speculation and debate.
Ruskin continued to support Hunt and Rossetti. He also provided an annuity of £150 in 1855–1857 to Elizabeth Siddal, Rossetti's wife, to encourage her art (and paid for the services of Henry Acland for her medical care).[55] Other artists influenced by the Pre-Raphaelites also received both critical and financial assistance from Ruskin, including John Brett, John William Inchbold, and Edward Burne-Jones, who became a good friend (he called him "Brother Ned").[56] His father's disapproval of such friends was a further cause of tension between them.
During this period Ruskin wrote regular reviews of the annual exhibitions at the Royal Academy with the title Academy Notes (1855–1859, 1875). They were highly influential, capable of making or breaking reputations. The satirical magazine Punch published the lines (24 May 1856), "I paints and paints,/hears no complaints/And sells before I'm dry,/Till savage Ruskin/He sticks his tusk in/Then nobody will buy."[58]
Ruskin was an art-philanthropist: in March 1861 he gave 48 Turner drawings to the Ashmolean in Oxford, and a further 25 to the Fitzwilliam Museum, Cambridge in May.[59] Ruskin's own work was very distinctive, and he occasionally exhibited his watercolours: in the United States in 1857–58 and 1879, for example; and in England, at the Fine Art Society in 1878, and at the Royal Society of Painters in Watercolour (of which he was an honorary member) in 1879. He created many careful studies of natural forms, based on his detailed botanical, geological and architectural observations.[60] Examples of his work include a painted, floral pilaster decoration in the central room of Wallington Hall in Northumberland, home of his friend Pauline Trevelyan. The stained glass window in the Little Church of St Francis Funtley, Fareham, Hampshire is reputed to have been designed by him. Originally placed in the St. Peter's Church Duntisbourne Abbots near Cirencester, the window depicts the Ascension and the Nativity.[61]
Ruskin's theories also inspired some architects to adapt the Gothic style. Such buildings created what has been called a distinctive "Ruskinian Gothic".[62] Through his friendship with Henry Acland, Ruskin supported attempts to establish what became the Oxford University Museum of Natural History (designed by Benjamin Woodward) — which is the closest thing to a model of this style, but still failed to satisfy Ruskin completely. The many twists and turns in the Museum's development, not least its increasing cost, and the University authorities' less than enthusiastic attitude towards it, proved increasingly frustrating for Ruskin.[63]
Ruskin and education
[edit]
The Museum was part of a wider plan to improve science provision at Oxford, something the University initially resisted. Ruskin's first formal teaching role came about in the mid-1850s,[64] when he taught drawing classes (assisted by Dante Gabriel Rossetti) at the Working Men's College, established by the Christian socialists, Frederick James Furnivall and Frederick Denison Maurice.[65] Although Ruskin did not share the founders' politics, he strongly supported the idea that through education workers could achieve a crucially important sense of (self-)fulfilment. One result of this involvement was Ruskin's Elements of Drawing (1857). He had taught several women drawing, by means of correspondence, and his book represented both a response and a challenge to contemporary drawing manuals.[68] The WMC was also a useful recruiting ground for assistants, on some of whom Ruskin would later come to rely, such as his future publisher, George Allen.[69]
From 1859 until 1868, Ruskin was involved with the progressive school for girls at Winnington Hall in Cheshire. A frequent visitor, letter-writer, and donor of pictures and geological specimens to the school, Ruskin approved of the mixture of sports, handicrafts, music and dancing encouraged by its principal, Miss Bell.[70] The association led to Ruskin's sub-Socratic work, The Ethics of the Dust (1866), an imagined conversation with Winnington's girls in which he cast himself as the "Old Lecturer". On the surface a discourse on crystallography, it is a metaphorical exploration of social and political ideals. In the 1880s, Ruskin became involved with another educational institution, Whitelands College, a training college for teachers, where he instituted a May Queen festival that endures today.[72] (It was also replicated in the 19th century at the Cork High School for Girls.) Ruskin also bestowed books and gemstones upon Somerville College, one of Oxford's first two women's colleges, which he visited regularly, and was similarly generous to other educational institutions for women.[73][74]
Modern Painters III and IV
[edit]
Both volumes III and IV of Modern Painters were published in 1856.[75] In MP III Ruskin argued that all great art is "the expression of the spirits of great men". Only the morally and spiritually healthy are capable of admiring the noble and the beautiful, and transforming them into great art by imaginatively penetrating their essence. MP IV presents the geology of the Alps in terms of landscape painting, and their moral and spiritual influence on those living nearby. The contrasting final chapters, "The Mountain Glory" and "The Mountain Gloom"[77] provide an early example of Ruskin's social analysis, highlighting the poverty of the peasants living in the lower Alps.[79]
Public lecturer
[edit]
In addition to leading more formal teaching classes, from the 1850s Ruskin became an increasingly popular public lecturer. His first public lectures were given in Edinburgh, in November 1853, on architecture and painting. His lectures at the Art Treasures Exhibition, Manchester in 1857, were collected as The Political Economy of Art and later under Keats's phrase, A Joy For Ever. In these lectures, Ruskin spoke about how to acquire art, and how to use it, arguing that England had forgotten that true wealth is virtue, and that art is an index of a nation's well-being. Individuals have a responsibility to consume wisely, stimulating beneficent demand. The increasingly critical tone and political nature of Ruskin's interventions outraged his father and the "Manchester School" of economists, as represented by a hostile review in the Manchester Examiner and Times.[81] As the Ruskin scholar Helen Gill Viljoen noted, Ruskin was increasingly critical of his father, especially in letters written by Ruskin directly to him, many of them still unpublished.[82]
Ruskin gave the inaugural address at the Cambridge School of Art in 1858, an institution from which the modern-day Anglia Ruskin University has grown.[83] In The Two Paths (1859), five lectures given in London, Manchester, Bradford and Tunbridge Wells, Ruskin argued that a 'vital law' underpins art and architecture, drawing on the labour theory of value. (For other addresses and letters, Cook and Wedderburn, vol. 16, pp. 427–87.) The year 1859 also marked his last tour of Europe with his ageing parents, during which they visited Germany and Switzerland.
Turner Bequest
[edit]
Ruskin had been in Venice when he heard about Turner's death in 1851. Being named an executor to Turner's will was an honour that Ruskin respectfully declined, but later took up. Ruskin's book in celebration of the sea, The Harbours of England, revolving around Turner's drawings, was published in 1856. In January 1857, Ruskin's Notes on the Turner Gallery at Marlborough House, 1856 was published. He persuaded the National Gallery to allow him to work on the Turner Bequest of nearly 20,000 individual artworks left to the nation by the artist. This involved Ruskin in an enormous amount of work, completed in May 1858, and involved cataloguing, framing and conserving.[88] Four hundred watercolours were displayed in cabinets of Ruskin's own design.[55] Recent scholarship has argued that Ruskin did not, as previously thought, collude in the destruction of Turner's erotic drawings,[89] but his work on the Bequest did modify his attitude towards Turner.[90] (See below, Controversies: Turner's Erotic Drawings.)
Religious "unconversion"
[edit]
In 1858, Ruskin was again travelling in Europe. The tour took him from Switzerland to Turin, where he saw Paolo Veronese's Presentation of the Queen of Sheba at the Galleria Sabauda. He would later claim (in April 1877) that the discovery of this painting, contrasting starkly with a particularly dull sermon that he had listened to at a Waldensian church in Turin, led to his "unconversion" from Evangelical Christianity. He had, however, doubted his Evangelical Christian faith for some time, shaken by Biblical and geological scholarship that was claimed to have undermined the literal truth and absolute authority of the Bible:[92] "those dreadful hammers!" he wrote to Henry Acland, "I hear the chink of them at the end of every cadence of the Bible verses." This "loss of faith" precipitated a considerable personal crisis. His confidence undermined, he believed that much of his writing to date had been founded on a bed of lies and half-truths.[94] He later returned to Christianity.[95]
Social critic and reformer: Unto This Last
[edit]
Although in 1877 Ruskin said that in 1860, "I gave up my art work and wrote Unto This Last… the central work of my life" the break was not so dramatic or final.[96] Following his crisis of faith, and urged to political and economic work by his professed "master" Thomas Carlyle, to whom he acknowledged that he "owed more than to any other living writer", Ruskin shifted his emphasis in the late 1850s from art towards social issues. Nevertheless, he continued to lecture on and write about a wide range of subjects including art and, among many other matters, geology (in June 1863 he lectured on the Alps), art practice and judgement (The Cestus of Aglaia), botany and mythology (Proserpina and The Queen of the Air). He continued to draw and paint in watercolours, and to travel extensively across Europe with servants and friends. In 1868, his tour took him to Abbeville, and in the following year he was in Verona (studying tombs for the Arundel Society) and Venice (where he was joined by William Holman Hunt). Yet increasingly Ruskin concentrated his energies on fiercely attacking industrial capitalism, and the utilitarian theories of political economy underpinning it. He repudiated his sometimes grandiloquent style, writing now in plainer, simpler language, to communicate his message straightforwardly.[100]
Ruskin authored several works on political economy.[101][102] Ruskin's social view broadened from concerns about the dignity of labour to consider issues of citizenship and notions of the ideal community. Just as he had questioned aesthetic orthodoxy in his earliest writings, he now dissected the orthodox political economy espoused by John Stuart Mill, based on theories of laissez-faire and competition drawn from the work of Adam Smith, David Ricardo and Thomas Malthus. In his four essays Unto This Last, Ruskin rejected the division of labour as dehumanising (separating the labourer from the product of his work), and argued that the false "science" of political economy failed to consider the social affections that bind communities together. He articulated an extended metaphor of household and family, drawing on Plato and Xenophon to demonstrate the communal and sometimes sacrificial nature of true economics.[103] For Ruskin, all economies and societies are ideally founded on a politics of social justice. His ideas influenced the concept of the "social economy", characterised by networks of charitable, co-operative and other non-governmental organisations.
The essays were originally published in consecutive monthly instalments of the new Cornhill Magazine between August and November 1860 (and published in a single volume in 1862). However, the Cornhill's editor, William Makepeace Thackeray, was forced to abandon the series by the outcry of the magazine's largely conservative readership and the fears of a nervous publisher (Smith, Elder & Co.). The reaction of the national press was hostile, and Ruskin was, he claimed, "reprobated in a violent manner".[105] Ruskin's father also strongly disapproved. Others were enthusiastic, including Carlyle, who wrote, "I have read your Paper with exhilaration… Such a thing flung suddenly into half a million dull British heads… will do a great deal of good", declaring that they were "henceforth in a minority of two",[107] a notion which Ruskin seconded.
Ruskin's political ideas, and Unto This Last in particular, later proved highly influential. The essays were praised and paraphrased in Gujarati by Mohandas Gandhi, a wide range of autodidacts cited their positive impact, the economist John A. Hobson and many of the founders of the British Labour party credited them as an influence.[109]
Ruskin believed in a hierarchical social structure. He wrote "I was, and my father was before me, a violent Tory of the old school."[110] He believed in man's duty to God, and while he sought to improve the conditions of the poor, he opposed attempts to level social differences and sought to resolve social inequalities by abandoning capitalism in favour of a co-operative structure of society based on obedience and benevolent philanthropy, rooted in the agricultural economy.
If there be any one point insisted on throughout my works more frequently than another, that one point is the impossibility of Equality. My continual aim has been to show the eternal superiority of some men to others, sometimes even of one man to all others; and to show also the advisability of appointing such persons or person to guide, to lead, or on occasion even to compel and subdue, their inferiors, according to their own better knowledge and wiser will.
— John Ruskin, Unto This Last: Cook and Wedderburn 17.34
Ruskin's explorations of nature and aesthetics in the fifth and final volume of Modern Painters focused on Giorgione, Veronese, Titian and Turner. Ruskin asserted that the components of the greatest artworks are held together, like human communities, in a quasi-organic unity. Competitive struggle is destructive. Uniting Modern Painters V and Unto This Last is Ruskin's "Law of Help":[111]
Government and cooperation are in all things and eternally the laws of life. Anarchy and competition, eternally, and in all things, the laws of death.
— John Ruskin, Modern Painters V and Unto This Last: Cook and Wedderburn 7.207 and 17.25.
Ruskin's next work on political economy, redefining some of the basic terms of the discipline, also ended prematurely, when Fraser's Magazine, under the editorship of James Anthony Froude, cut short his Essays on Political Economy (1862–63) (later collected as Munera Pulveris (1872)). Ruskin further explored political themes in Time and Tide (1867), his letters to Thomas Dixon, a cork-cutter in Sunderland, Tyne and Wear who had a well-established interest in literary and artistic matters. In these letters, Ruskin promoted honesty in work and exchange, just relations in employment and the need for co-operation.
Ruskin's sense of politics was not confined to theory. On his father's death in 1864, he inherited an estate worth between £120,000 and £157,000 (the exact figure is disputed).[114] This considerable fortune, inherited from the father he described on his tombstone as "an entirely honest merchant", gave him the means to engage in personal philanthropy and practical schemes of social amelioration. One of his first actions was to support the housing work of Octavia Hill (originally one of his art pupils): he bought property in Marylebone to aid her philanthropic housing scheme.[116] But Ruskin's endeavours extended to the establishment of a shop selling pure tea in any quantity desired at 29 Paddington Street, Paddington (giving employment to two former Ruskin family servants) and crossing-sweepings to keep the area around the British Museum clean and tidy. Modest as these practical schemes were, they represented a symbolic challenge to the existing state of society. Yet his greatest practical experiments would come in his later years.
In 1865–66, Ruskin became involved in the controversy surrounding Edward John Eyre's suppression of the Morant Bay rebellion. Mill formed the Jamaica Committee for the purpose of holding Governor Eyre accountable for what they perceived to be his unlawful, inhumane, and unnecessary quelling of the insurrection. In response, the Eyre Defence and Aid Fund was formed to support Eyre for having fulfilled his duty to defend order and save the white population from danger; Carlyle served as the chairman. Ruskin allied with the Defence, writing a letter which appeared in the Daily Telegraph in December 1865 ("they are for Liberty, and I am for Lordship; they are Mob's men, and I am a King's man"), donating £100 to the Fund, and giving a speech at Waterloo Place on Pall Mall in September 1866, also reported in the Telegraph. In addition to this, Ruskin "threw himself into" personal work for the Defence, "enlisting recruits, persuading waverers, combating objections."
Lectures in the 1860s
[edit]
Ruskin lectured widely in the 1860s, giving the Rede lecture at the University of Cambridge in 1867, for example. He spoke at the British Institution on 'Modern Art', the Working Men's Institute, Camberwell on "Work" and the Royal Military Academy, Woolwich on 'War.'[119] Ruskin's widely admired lecture, Traffic, on the relation between taste and morality, was delivered in April 1864 at Bradford Town Hall, to which he had been invited because of a local debate about the style of a new Exchange building.[120] "I do not care about this Exchange", Ruskin told his audience, "because you don't!" These last three lectures were published in The Crown of Wild Olive (1866).
The lectures that comprised Sesame and Lilies (published 1865), delivered in December 1864 at the town halls at Rusholme and Manchester, are essentially concerned with education and ideal conduct. "Of Kings' Treasuries" (in support of a library fund) explored issues of reading practice, literature (books of the hour vs. books of all time), cultural value and public education. "Of Queens' Gardens" (supporting a school fund) focused on the role of women, asserting their rights and duties in education, according them responsibility for the household and, by extension, for providing the human compassion that must balance a social order dominated by men. This book proved to be one of Ruskin's most popular, and was regularly awarded as a Sunday School prize. Its reception over time, however, has been more mixed, and twentieth-century feminists have taken aim at "Of Queens' Gardens" in particular, as an attempt to "subvert the new heresy" of women's rights by confining women to the domestic sphere.[124] Although indeed subscribing to the Victorian belief in "separate spheres" for men and women, Ruskin was however unusual in arguing for parity of esteem, a case based on his philosophy that a nation's political economy should be modelled on that of the ideal household.
Later life (1869–1900)
[edit]
Oxford's first Slade Professor of Fine Art
[edit]
Ruskin was unanimously appointed the first Slade Professor of Fine Art at Oxford University in August 1869, though largely through the offices of his friend, Henry Acland.[125] He delivered his inaugural lecture on his 51st birthday in 1870, at the Sheldonian Theatre to a larger-than-expected audience. It was here that he said, "The art of any country is the exponent of its social and political virtues… she [England] must found colonies as fast and as far as she is able, formed of her most energetic and worthiest men;—seizing every piece of fruitful waste ground she can set her foot on…"[126] It has been claimed that Cecil Rhodes cherished a long-hand copy of the lecture, believing that it supported his own view of the British Empire. [127]
In 1871, John Ruskin founded his own art school at Oxford, The Ruskin School of Drawing and Fine Art.[128] It was originally accommodated within the Ashmolean Museum but now occupies premises on High Street. Ruskin endowed the drawing mastership with £5000 of his own money. He also established a large collection of drawings, watercolours and other materials (over 800 frames) that he used to illustrate his lectures. The School challenged the orthodox, mechanical methodology of the government art schools (the "South Kensington System").[129]
Ruskin's lectures were often so popular that they had to be given twice—once for the students, and again for the public. Most of them were eventually published (see Select Bibliography below). He lectured on a wide range of subjects at Oxford, his interpretation of "Art" encompassing almost every conceivable area of study, including wood and metal engraving (Ariadne Florentina), the relation of science to art (The Eagle's Nest) and sculpture (Aratra Pentelici). His lectures ranged through myth, ornithology, geology, nature-study and literature. "The teaching of Art…", Ruskin wrote, "is the teaching of all things." Ruskin was never careful about offending his employer. When he criticised Michelangelo in a lecture in June 1871 it was seen as an attack on the large collection of that artist's work in the Ashmolean Museum.[131]
Most controversial, from the point of view of the University authorities, spectators and the national press, was the digging scheme on Ferry Hinksey Road at North Hinksey, near Oxford, instigated by Ruskin in 1874, and continuing into 1875, which involved undergraduates in a road-mending scheme.[132] The scheme was motivated in part by a desire to teach the virtues of wholesome manual labour. Some of the diggers, who included Oscar Wilde, Alfred Milner and Ruskin's future secretary and biographer W. G. Collingwood, were profoundly influenced by the experience: notably Arnold Toynbee, Leonard Montefiore and Alexander Robertson MacEwen. It helped to foster a public service ethic that was later given expression in the university settlements,[133] and was keenly celebrated by the founders of Ruskin Hall, Oxford.[134]
In 1879, Ruskin resigned from Oxford, but resumed his Professorship in 1883, only to resign again in 1884.[135] He gave his reason as opposition to vivisection,[136] but he had increasingly been in conflict with the University authorities, who refused to expand his Drawing School.[129] He was also suffering from increasingly poor health.
Fors Clavigera and the Whistler libel case
[edit]
In January 1871, the month before Ruskin started to lecture the wealthy undergraduates at Oxford University, he began his series of 96 (monthly) "letters to the workmen and labourers of Great Britain" under the title Fors Clavigera (1871–84). (The letters were published irregularly after the 87th instalment in March 1878.) These letters were personal, dealt with every subject in his oeuvre, and were written in a variety of styles, reflecting his mood and circumstances. From 1873, Ruskin had full control over all his publications, having established George Allen as his sole publisher (see Allen & Unwin).
In the July 1877 letter of Fors Clavigera, Ruskin launched a scathing attack on paintings by James McNeill Whistler exhibited at the Grosvenor Gallery. He found particular fault with Nocturne in Black and Gold: The Falling Rocket, and accused Whistler of asking two hundred guineas for "flinging a pot of paint in the public's face".[138] Whistler filed a libel suit against Ruskin, but Ruskin was ill when the case went to trial in November 1878, so the artist Edward Burne-Jones[139] and Attorney General Sir John Holker represented him. The trial took place on 25 and 26 November, and many major figures of the art world at the time appeared at the trial. Artist Albert Moore appeared as a witness for Whistler, and artist William Powell Frith appeared for Ruskin. Frith said "the nocturne in black in gold is not in my opinion worth two hundred guineas". Frederic Leighton also agreed to give evidence for Whistler, but in the end could not attend as he had to go to Windsor to be knighted.[140] Edward Burne-Jones, representing Ruskin, also asserted that Nocturne in Black and Gold was not a serious work of art. When asked to give reasons, Burne-Jones said he had never seen one painting of night that was successful, but also acknowledged that he saw marks of great labour and artistic skill in the painting. In the end, Whistler won the case, but the jury awarded damages of only a derisory farthing (the smallest coin of the realm) to the artist. Court costs were split between the two parties. Ruskin's were paid by public subscription organised by the Fine Art Society, but Whistler was bankrupt within six months, and was forced to sell his house on Tite Street in London and move to Venice. The episode tarnished Ruskin's reputation and may have accelerated his mental decline.[141] It did nothing to mitigate Ruskin's exaggerated sense of failure in persuading his readers to share in his own keenly felt priorities.[142]
Guild of St George
[edit]
Ruskin founded his utopian society, the Guild of St George, in 1871 (although originally it was called St George's Fund, and then St George's Company, before becoming the Guild in 1878). Its aims and objectives were articulated in Fors Clavigera. A communitarian protest against nineteenth-century industrial capitalism, it had a hierarchical structure, with Ruskin as its Master, and dedicated members called "Companions".[144] Ruskin wished to show that contemporary life could still be enjoyed in the countryside, with land being farmed by traditional means, in harmony with the environment, and with the minimum of mechanical assistance.[145] He also sought to educate and enrich the lives of industrial workers by inspiring them with beautiful objects. Toward this end, with a tithe (or personal donation) of £7,000, Ruskin acquired land and a collection of art treasures.[146]
Ruskin purchased land initially in Totley, near Sheffield, but the agricultural scheme established there by local communists met with only modest success after many difficulties.[147] Donations of land from wealthy and dedicated Companions eventually placed land and property in the Guild's care: in the Wyre Forest, near Bewdley, Worcestershire, called Ruskin Land today;[148] Barmouth, in Gwynedd, north-west Wales; Cloughton, in North Yorkshire; Westmill in Hertfordshire;[149] and Sheepscombe, Gloucestershire.[150][151]
In principle, Ruskin worked out a scheme for different grades of "Companion", wrote codes of practice, described styles of dress and even designed the Guild's own coins. Ruskin wished to see St George's Schools established, and published various volumes to aid its teaching (his Bibliotheca Pastorum or Shepherd's Library), but the schools themselves were never established.[153] (In the 1880s, in a venture loosely related to the Bibliotheca, he supported Francesca Alexander's publication of some of her tales of peasant life.) In reality, the Guild, which still exists today as a charitable education trust, has only ever operated on a small scale.[154]
Ruskin also wished to see traditional rural handicrafts revived. St. George's Mill was established at Laxey, Isle of Man, producing cloth goods. The Guild also encouraged independent but allied efforts in spinning and weaving at Langdale, in other parts of the Lake District and elsewhere, producing linen and other goods exhibited by the Home Arts and Industries Association and similar organisations.[155]
The Guild's most conspicuous and enduring achievement was the creation of a remarkable collection of art, minerals, books, medieval manuscripts, architectural casts, coins and other precious and beautiful objects. Housed in a cottage museum high on a hill in the Sheffield district of Walkley, it opened in 1875, and was curated by Henry and Emily Swan.[156] Ruskin had written in Modern Painters III (1856) that, "the greatest thing a human soul ever does in this world is to see something, and to tell what it saw in a plain way." Through the Museum, Ruskin aimed to bring to the eyes of the working man many of the sights and experiences otherwise reserved for those who could afford to travel across Europe. The original Museum has been digitally recreated online.[158] In 1890, the Museum relocated to Meersbrook Park. The collection is now on display at Sheffield's Millennium Gallery.[159]
Rose La Touche
[edit]
Ruskin had been introduced to the wealthy Irish La Touche family by Louisa, Marchioness of Waterford. Maria La Touche, a minor Irish poet and novelist, asked Ruskin to teach her daughters drawing and painting in 1858. Rose La Touche was ten. His first meeting came at a time when Ruskin's own religious faith was under strain. This always caused difficulties for the staunchly Protestant La Touche family who at various times prevented the two from meeting.[160] A chance meeting at the Royal Academy in 1869 was one of the few occasions they came into personal contact. After a long illness, she died on 25 May 1875, at the age of 27. These events plunged Ruskin into despair and led to increasingly severe bouts of mental illness involving breakdowns and delirious visions. The first of these had occurred in 1871 at Matlock, Derbyshire, a town and a county that he knew from his boyhood travels, whose flora, fauna, and minerals helped to form and reinforce his appreciation and understanding of nature.
Ruskin turned to spiritualism. He attended séances at Broadlands. Ruskin's increasing need to believe in a meaningful universe and a life after death, both for himself and his loved ones, helped to revive his Christian faith in the 1870s.
Travel guides
[edit]
Ruskin continued to travel, studying the landscapes, buildings and art of Europe. In May 1870 and June 1872 he admired Carpaccio's St Ursula in Venice, a vision of which, associated with Rose La Touche, would haunt him, described in the pages of Fors. In 1874, on his tour of Italy, Ruskin visited Sicily, the furthest he ever travelled.
Ruskin embraced the emerging literary forms, the travel guide (and gallery guide), writing new works, and adapting old ones "to give", he said, "what guidance I may to travellers…"[162] The Stones of Venice was revised, edited and issued in a new "Travellers' Edition" in 1879. Ruskin directed his readers, the would-be traveller, to look with his cultural gaze at the landscapes, buildings and art of France and Italy: Mornings in Florence (1875–1877), The Bible of Amiens (1880–1885) (a close study of its sculpture and a wider history), St Mark's Rest (1877–1884) and A Guide to the Principal Pictures in… Venice (1877).
Final writings
[edit]
In the 1880s, Ruskin returned to some literature and themes that had been among his favourites since childhood. He wrote about Scott, Byron and Wordsworth in Fiction, Fair and Foul (1880) in which, as Seth Reno argues, he describes the devastating effects on the landscape caused by industrialization, a vision Reno sees as a realization of the Anthropocene.[164] He returned to meteorological observations in his lectures, The Storm-Cloud of the Nineteenth-Century (1884), describing the apparent effects of industrialisation on weather patterns. Ruskin's Storm-Cloud has been seen as foreshadowing environmentalism and related concerns in the 20th and 21st centuries.[166] Ruskin's prophetic writings were also tied to his emotions, and his more general (ethical) dissatisfaction with the modern world with which he now felt almost completely out of sympathy.
His last great work was his autobiography, Praeterita (1885–1889) (meaning, 'Of Past Things'), a highly personalised, selective, eloquent but incomplete account of aspects of his life, the preface of which was written in his childhood nursery at Herne Hill.
The period from the late 1880s was one of steady and inexorable decline. Gradually it became too difficult for him to travel to Europe. He suffered a complete mental collapse on his final tour, which included Beauvais, Sallanches and Venice, in 1888. The emergence and dominance of the Aesthetic movement and Impressionism distanced Ruskin from the modern art world, his ideas on the social utility of art contrasting with the doctrine of "l'art pour l'art" or "art for art's sake" that was beginning to dominate. His later writings were increasingly seen as irrelevant, especially as he seemed to be more interested in book illustrators such as Kate Greenaway than in modern art. He also attacked aspects of Darwinian theory with increasing violence, although he knew and respected Darwin personally.
Brantwood and final years
[edit]
In August 1871, Ruskin purchased, from W. J. Linton, the then somewhat dilapidated Brantwood house, on the shores of Coniston Water, in the English Lake District, paying £1500 for it. Brantwood was Ruskin's main home from 1872 until his death. His estate provided a site for more of his practical schemes and experiments: he had an ice house built, and the gardens comprehensively rearranged. He oversaw the construction of a larger harbour (from where he rowed his boat, the Jumping Jenny), and he altered the house (adding a dining room, a turret to his bedroom to give him a panoramic view of the lake, and he later extended the property to accommodate his relatives). He built a reservoir and redirected the waterfall down the hills, adding a slate seat that faced the tumbling stream and craggy rocks rather than the lake, so that he could closely observe the fauna and flora of the hillside.[168]
Although Ruskin's 80th birthday was widely celebrated in 1899 (various Ruskin societies presenting him with an elaborately illuminated congratulatory address), Ruskin was scarcely aware of it.[169] He died at Brantwood from influenza on 20 January 1900 at the age of 80.[170] He was buried five days later in the churchyard at Coniston, according to his wishes.[171] As he had grown weaker, suffering prolonged bouts of mental illness, he had been looked after by his second cousin, Joan(na) Severn (formerly "companion" to Ruskin's mother) and she and her family inherited his estate. Joanna's Care was the eloquent final chapter of Ruskin's memoir, which he dedicated to her as a fitting tribute.[172]
Joan Severn, together with Ruskin's secretary, W. G. Collingwood, and his eminent American friend Charles Eliot Norton, were executors to his will. E. T. Cook and Alexander Wedderburn edited the monumental 39-volume Library Edition of Ruskin's Works, the last volume of which, an index, attempts to demonstrate the complex interconnectedness of Ruskin's thought. They all acted together to guard, and even control, Ruskin's public and personal reputation.[173]
The centenary of Ruskin's birth was keenly celebrated in 1919, but his reputation was already in decline and sank further in the fifty years that followed.[174] The contents of Ruskin's home were dispersed in a series of sales at auction, and Brantwood itself was bought in 1932 by the educationist and Ruskin enthusiast, collector and memorialist, John Howard Whitehouse.[175]
Brantwood was opened in 1934 as a memorial to Ruskin and remains open to the public today.[176] The Guild of St George continues to thrive as an educational charity, and has an international membership.[177] The Ruskin Society organises events throughout the year.[178] A series of public celebrations of Ruskin's multiple legacies took place in 2000, on the centenary of his death, and events are planned throughout 2019, to mark the bicentenary of his birth.[179]
Note on Ruskin's personal appearance
[edit]
In middle age, and at his prime as a lecturer, Ruskin was described as slim, perhaps a little short,[180] with an aquiline nose and brilliant, piercing blue eyes. Often sporting a double-breasted waistcoat, a high collar and, when necessary, a frock coat, he also wore his trademark blue neckcloth.[181] From 1878 he cultivated an increasingly long beard, and took on the appearance of an "Old Testament" prophet.
Ruskin in the eyes of a student
[edit]
The following description of Ruskin as a lecturer was written by an eyewitness, who was a student at the time (1884):
[Ruskin's] election to the second term of the Slade professorship took place in 1884, and he was announced to lecture at the Science Schools, by the park. I went off, never dreaming of difficulty about getting into any professorial lecture; but all the accesses were blocked, and finally I squeezed in between the Vice-Chancellor and his attendants as they forced a passage. All the young women in Oxford and all the girls' schools had got in before us and filled the semi-circular auditorium. Every inch was crowded, and still no lecturer; and it was not apparent how he could arrive. Presently there was a commotion in the doorway, and over the heads and shoulders of tightly packed young men, a loose bundle was handed in and down the steps, till on the floor a small figure was deposited, which stood up and shook itself out, amused and good humoured, climbed on to the dais, spread out papers and began to read in a pleasant though fluting voice. Long hair, brown with grey through it; a soft brown beard, also streaked with grey; some loose kind of black garment (possibly to be described as a frock coat) with a master's gown over it; loose baggy trousers, a thin gold chain round his neck with glass suspended, a lump of soft tie of some finely spun blue silk; and eyes much bluer than the tie: that was Ruskin as he came back to Oxford.
— Stephen Gwynn, Experiences of a Literary Man (1926)[182]
An incident where the Arts and Crafts master William Morris had aroused the anger of Dr Bright, Master of University College, Oxford, served to demonstrate Ruskin's charisma:
William Morris had come to lecture on "Art and plutocracy" in the hall of University College. The title did not suggest an exhortation to join a Socialist alliance, but that was what we got. When he ended, the Master of University, Dr Bright, stood up and instead of returning thanks, protested that the hall had been lent for a lecture on art and would certainly not have been made available for preaching Socialism. He stammered a little at all times, and now, finding the ungracious words literally stick in his throat, sat down, leaving the remonstrance incomplete but clearly indicated. The situation was most unpleasant. Morris at any time was choleric and his face flamed red over his white shirt front: he probably thought he had conceded enough by assuming against his usage a conventional garb. There was a hubbub, and then from the audience Ruskin rose and instantly there was quiet. With a few courteous well chosen sentences he made everybody feel that we were an assembly of gentlemen, that Morris was not only an artist but a gentleman and an Oxford man, and had said or done nothing which gentlemen in Oxford should resent; and the whole storm subsided before that gentle authority.
— Stephen Gwynn, Experiences of a Literary Man (1926)[182]
Legacy
[edit]
International
[edit]
Ruskin's influence reached across the world. Tolstoy described him as "one of the most remarkable men not only of England and of our generation, but of all countries and times" and quoted extensively from him, rendering his ideas into Russian.[183] Proust not only admired Ruskin but helped translate his works into French.[184] Gandhi wrote of the "magic spell" cast on him by Unto This Last and paraphrased the work in Gujarati, calling it Sarvodaya, "The Advancement of All".[citation needed] In Japan, Ryuzo Mikimoto actively collaborated in Ruskin's translation. He commissioned sculptures and sundry commemorative items, and incorporated Ruskinian rose motifs in the jewellery produced by his cultured pearl empire. He established the Ruskin Society of Tokyo and his children built a dedicated library to house his Ruskin collection.[185][186]
A number of utopian socialist Ruskin Colonies attempted to put his political ideals into practice. These communities included Ruskin, Florida, Ruskin, British Columbia and the Ruskin Commonwealth Association, a colony in Dickson County, Tennessee in existence from 1894 to 1899. One of Ruskin's students, Ralph Radcliffe Whitehead, founded the Byrdcliffe Colony in Woodstock, New York, partly inspired by his teacher's beliefs.[187]
Ruskin's work has been translated into numerous languages including, in addition to those already mentioned (Russian, French, Japanese): German, Italian, Catalan, Spanish, Portuguese, Hungarian, Polish, Romanian, Swedish, Danish, Dutch, Czech, Chinese, Welsh, Esperanto, Gikuyu, and several Indian languages such as Kannada.
Art, architecture and literature
[edit]
Theorists and practitioners in a broad range of disciplines acknowledged their debt to Ruskin. Architects including Le Corbusier, Louis Sullivan, Frank Lloyd Wright and Walter Gropius incorporated his ideas in their work.[188] Writers as diverse as Oscar Wilde, G. K. Chesterton, Hilaire Belloc, T. S. Eliot, W. B. Yeats and Ezra Pound felt Ruskin's influence.[189] The American poet Marianne Moore was an enthusiastic Ruskin reader. Art historians and critics, among them Herbert Read, Roger Fry and Wilhelm Worringer, knew Ruskin's work well.[190] Admirers ranged from the British-born American watercolourist and engraver John William Hill to the sculptor-designer, printmaker and utopianist Eric Gill. Aside from E. T. Cook, Ruskin's editor and biographer, other leading British journalists influenced by Ruskin include J. A. Spender, and the war correspondent H. W. Nevinson.
No true disciple of mine will ever be a "Ruskinian"! – he will follow, not me, but the instincts of his own soul, and the guidance of its Creator.
Cook and Wedderburn, 24.357.
Craft and conservation
[edit]
William Morris and C. R. Ashbee (of the Guild of Handicraft) were keen disciples, and through them Ruskin's legacy can be traced in the arts and crafts movement. Ruskin's ideas on the preservation of open spaces and the conservation of historic buildings and places inspired his friends Octavia Hill and Hardwicke Rawnsley to help found the National Trust.[191]
Society, education and sport
[edit]
Pioneers of town planning such as Thomas Coglan Horsfall and Patrick Geddes called Ruskin an inspiration and invoked his ideas in justification of their own social interventions; likewise the founders of the garden city movement, Ebenezer Howard and Raymond Unwin.[192]
Edward Carpenter's community in Millthorpe, Derbyshire was partly inspired by Ruskin, and John Kenworthy's colony at Purleigh, Essex, which was briefly a refuge for the Doukhobors, combined Ruskin's ideas and Tolstoy's.
The most prolific collector of Ruskiniana was John Howard Whitehouse, who saved Ruskin's home, Brantwood, and opened it as a permanent Ruskin memorial. Inspired by Ruskin's educational ideals, Whitehouse established Bembridge School, on the Isle of Wight, and ran it along Ruskinian lines. Educationists from William Jolly to Michael Ernest Sadler wrote about and appreciated Ruskin's ideas.[193] Ruskin College, an educational establishment in Oxford originally intended for working men, was named after him by its American founders, Walter Vrooman and Charles A. Beard.
Ruskin's innovative publishing experiment, conducted by his one-time Working Men's College pupil George Allen, whose business was eventually merged to become Allen & Unwin, anticipated the establishment of the Net Book Agreement.
Ruskin's Drawing Collection, a collection of 1470 works of art he gathered as learning aids for the Ruskin School of Drawing and Fine Art (which he founded at Oxford), is at the Ashmolean Museum. The Museum has promoted Ruskin's art teaching, utilising the collection for in-person and online drawing courses.[194]
Pierre de Coubertin, the innovator of the modern Olympic Games, cited Ruskin's principles of beautification, asserting that the games should be "Ruskinised" to create an aesthetic identity that transcended mere championship competitions.[195]
Politics and critique of political economy
[edit]
Ruskin was an inspiration for many Christian socialists, and his ideas informed the work of economists such as William Smart and J. A. Hobson, and the positivist Frederic Harrison.[196] Ruskin was discussed in university extension classes, and in reading circles and societies formed in his name. He helped to inspire the settlement movement in Britain and the United States. Resident workers at Toynbee Hall such as the future civil servants Hubert Llewellyn Smith and William Beveridge (author of the Report … on Social Insurance and Allied Services), and the future Prime Minister Clement Attlee acknowledged their debt to Ruskin as they helped to found the British welfare state. More of the British Labour Party's earliest MPs acknowledged Ruskin's influence than mentioned Karl Marx or the Bible.[197] In Nazi Germany, Ruskin was seen as an early British National Socialist. William Montgomery McGovern's From Luther to Hitler (1941) identified Ruskin as a thinker who made Nazism possible, and one 1930s German headmaster told his students that "Carlyle and Ruskin were the first National Socialists."[198][199] More recently, Ruskin's works have also influenced Phillip Blond and the Red Tory movement.[200]
Ruskin in the 21st century
[edit]
In 2019, Ruskin200 was inaugurated as a year-long celebration marking the bicentenary of Ruskin's birth.[201]
Admirers and scholars of Ruskin can visit the Ruskin Library at Lancaster University, Ruskin's home, Brantwood, and the Ruskin Museum, both in Coniston in the English Lake District. All three mount regular exhibitions open to the public all the year round.[202][203][204] Barony House in Edinburgh is home to a descendant of John Ruskin. She has designed and hand painted various friezes in honour of her ancestor and it is open to the public.[205][206] Ruskin's Guild of St George continues his work today, in education, the arts, crafts, and the rural economy.
Many streets, buildings, organisations and institutions bear his name: The Priory Ruskin Academy in Grantham, Lincolnshire; John Ruskin College, South Croydon; and Anglia Ruskin University in Chelmsford and Cambridge, which traces its origins to the Cambridge School of Art, at the foundation of which Ruskin spoke in 1858. Also, the Ruskin Literary and Debating Society, (founded in 1900 in Toronto, Ontario, Canada), the oldest surviving club of its type, and still promoting the development of literary knowledge and public speaking today; and the Ruskin Art Club in Los Angeles, which still exists. In addition, there is the Ruskin Pottery, Ruskin House, Croydon and Ruskin Hall at the University of Pittsburgh.
Ruskin, Florida, United States—site of one of the short-lived American Ruskin Colleges—is named after John Ruskin. There is a mural of Ruskin titled "Head, Heart and Hands" on a building across from the Ruskin Post Office.[207]
Since 2000, scholarly research has focused on aspects of Ruskin's legacy, including his impact on the sciences; John Lubbock and Oliver Lodge admired him. Two major academic projects have looked at Ruskin and cultural tourism (investigating, for example, Ruskin's links with Thomas Cook);[208] the other focuses on Ruskin and the theatre.[209] The sociologist and media theorist David Gauntlett argues that Ruskin's notions of craft can be felt today in online communities such as YouTube and throughout Web 2.0.[210] Similarly, architectural theorist Lars Spuybroek has argued that Ruskin's understanding of the Gothic as a combination of two types of variation, rough savageness and smooth changefulness, opens up a new way of thinking leading to digital and so-called parametric design.[211]
Notable Ruskin enthusiasts include the writers Geoffrey Hill and Charles Tomlinson, and the politicians Patrick Cormack, Frank Judd,[212] Frank Field[213] and Tony Benn.[214] In 2006, Chris Smith, Baron Smith of Finsbury, Raficq Abdulla, Jonathon Porritt and Nicholas Wright were among those to contribute to the symposium, There is no wealth but life: Ruskin in the 21st Century.[215] Jonathan Glancey at The Guardian and Andrew Hill at the Financial Times have both written about Ruskin,[216] as has the broadcaster Melvyn Bragg.[217] In 2015, inspired by Ruskin's philosophy of education, Marc Turtletaub founded Meristem in Fair Oaks, California. The centre educates adolescents with developmental differences using Ruskin's "land and craft" ideals, transitioning them so they will succeed as adults in an evolving post-industrial society.[218]
Theory and criticism
[edit]
Ruskin wrote over 250 works, initially art criticism and history, but expanding to cover topics ranging over science, geology, ornithology, literary criticism, the environmental effects of pollution, mythology, travel, political economy and social reform. After his death Ruskin's works were collected in the 39-volume "Library Edition", completed in 1912 by his friends Edward Tyas Cook and Alexander Wedderburn.[219] The range and quantity of Ruskin's writing, and its complex, allusive and associative method of expression, cause certain difficulties. In 1898, John A. Hobson observed that in attempting to summarise Ruskin's thought, and by extracting passages from across his work, "the spell of his eloquence is broken".[220] Clive Wilmer has written, further, that, "The anthologising of short purple passages, removed from their intended contexts [… is] something which Ruskin himself detested and which has bedevilled his reputation from the start."[221] Nevertheless, some aspects of Ruskin's theory and criticism require further consideration.
Art and design criticism
[edit]
Ruskin's early work defended the reputation of J. M. W. Turner.[222] He believed that all great art should communicate an understanding and appreciation of nature. Accordingly, inherited artistic conventions should be rejected. Only by means of direct observation can an artist, through form and colour, represent nature in art. He advised artists in Modern Painters I to: "go to Nature in all singleness of heart… rejecting nothing, selecting nothing and scorning nothing." By the 1850s. Ruskin was celebrating the Pre-Raphaelites, whose members, he said, had formed "a new and noble school" of art that would provide a basis for a thoroughgoing reform of the art world.[224] For Ruskin, art should communicate truth above all things. However, this could not be revealed by mere display of skill, and must be an expression of the artist's whole moral outlook. Ruskin rejected the work of Whistler because he considered it to epitomise a reductive mechanisation of art.[citation needed]
Ruskin's strong rejection of Classical tradition in The Stones of Venice typifies the inextricable mix of aesthetics and morality in his thought: "Pagan in its origin, proud and unholy in its revival, paralysed in its old age… an architecture invented, as it seems, to make plagiarists of its architects, slaves of its workmen, and sybarites of its inhabitants; an architecture in which intellect is idle, invention impossible, but in which all luxury is gratified and all insolence fortified."[225] Rejection of mechanisation and standardisation informed Ruskin's theories of architecture, and his emphasis on the importance of the Medieval Gothic style. He praised the Gothic for what he saw as its reverence for nature and natural forms; the free, unfettered expression of artisans constructing and decorating buildings; and for the organic relationship he perceived between worker and guild, worker and community, worker and natural environment, and between worker and God. Attempts in the 19th century to reproduce Gothic forms (such as pointed arches), attempts he had helped inspire, were not enough to make these buildings expressions of what Ruskin saw as true Gothic feeling, faith, and organicism.
For Ruskin, the Gothic style in architecture embodied the same moral truths he sought to promote in the visual arts. It expressed the 'meaning' of architecture—as a combination of the values of strength, solidity and aspiration—all written, as it were, in stone. For Ruskin, creating true Gothic architecture involved the whole community, and expressed the full range of human emotions, from the sublime effects of soaring spires to the comically ridiculous carved grotesques and gargoyles. Even its crude and "savage" aspects were proof of "the liberty of every workman who struck the stone; a freedom of thought, and rank in scale of being, such as no laws, no charters, no charities can secure."[226] Classical architecture, in contrast, expressed a morally vacuous and repressive standardisation. Ruskin associated Classical values with modern developments, in particular with the demoralising consequences of the industrial revolution, resulting in buildings such as The Crystal Palace, which he criticised.[227] Although Ruskin wrote about architecture in many works over the course of his career, his much-anthologised essay "The Nature of Gothic" from the second volume of The Stones of Venice (1853) is widely considered to be one of his most important and evocative discussions of his central argument.
Ruskin's theories indirectly encouraged a revival of Gothic styles, but Ruskin himself was often dissatisfied with the results. He objected that forms of mass-produced faux Gothic did not exemplify his principles, but showed disregard for the true meaning of the style. Even the Oxford University Museum of Natural History, a building designed with Ruskin's collaboration, met with his disapproval. The O'Shea brothers, freehand stone carvers chosen to revive the creative "freedom of thought" of Gothic craftsmen, disappointed him by their lack of reverence for the task.
Ruskin's distaste for oppressive standardisation led to later works in which he attacked laissez-faire capitalism, which he thought was at its root. His ideas provided inspiration for the Arts and Crafts Movement, the founders of the National Trust, the National Art Collections Fund, and the Society for the Protection of Ancient Buildings.
Ruskin's views on art, wrote Kenneth Clark, "cannot be made to form a logical system, and perhaps owe to this fact a part of their value." Ruskin's accounts of art are descriptions of a superior type that conjure images vividly in the mind's eye.[228] Clark neatly summarises the key features of Ruskin's writing on art and architecture:
Art is not a matter of taste, but involves the whole man. Whether in making or perceiving a work of art, we bring to bear on it feeling, intellect, morals, knowledge, memory, and every other human capacity, all focused in a flash on a single point. Aesthetic man is a concept as false and dehumanising as economic man.
Even the most superior mind and the most powerful imagination must found itself on facts, which must be recognised for what they are. The imagination will often reshape them in a way which the prosaic mind cannot understand; but this recreation will be based on facts, not on formulas or illusions.
These facts must be perceived by the senses, or felt; not learnt.
The greatest artists and schools of art have believed it their duty to impart vital truths, not only about the facts of vision, but about religion and the conduct of life.
Beauty of form is revealed in organisms which have developed perfectly according to their laws of growth, and so give, in his own words, 'the appearance of felicitous fulfilment of function.'
This fulfilment of function depends on all parts of an organism cohering and co-operating. This was what he called the 'Law of Help,' one of Ruskin's fundamental beliefs, extending from nature and art to society.
Good art is done with enjoyment. The artist must feel that, within certain reasonable limits, he is free, that he is wanted by society, and that the ideas he is asked to express are true and important.
Great art is the expression of epochs where people are united by a common faith and a common purpose, accept their laws, believe in their leaders, and take a serious view of human destiny.[229]
Historic preservation
[edit]
Ruskin's belief in preservation of ancient buildings had a significant influence on later thinking about the distinction between conservation and restoration. His position at the beginning of his career was very radical and he believed that if no conservation had been done on a building it should be left to die. In The Seven Lamps of Architecture, (1849) Ruskin wrote:
Neither by the public, nor by those who have the care of public monuments, is the true meaning of the word restoration understood. It means the most total destruction which a building can suffer: a destruction out of which no remnants can be gathered: a destruction accompanied with false description of the thing destroyed. Do not let us deceive ourselves in this important matter; it is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture.
— Seven Lamps ("The Lamp of Memory") c. 6; Cook and Wedderburn 8.242.
For Ruskin, the "age" of a building was crucially significant as an aspect in its preservation: "For, indeed, the greatest glory of a building is not in its stones, not in its gold. Its glory is in its Age, and in that deep sense of voicefulness, of stern watching, of mysterious sympathy, nay, even of approval or condemnation, which we feel in walls that have long been washed by the passing waves of humanity."[230]
It has been thought that he was a strong proponent of his contemporary, Eugène Viollet-le-Duc, who promoted the view that "if no conservation had been done [to] a building it should be restored". In fact Ruskin never criticised Viollet le Duc's restoration work, just the idea of restoration.[231] Ruskins radical position on restoration was nuanced at the end of his life as he wrote in his last book Preateria in which "he regretted that no one in England had done the work that Viollet le Duc had done in France".[232]
Critique of political economy
[edit]
Ruskin wielded a critique of political economy of orthodox, 19th-century political economy principally on the grounds that it failed to acknowledge complexities of human desires and motivations (broadly, "social affections"). He began to express such ideas in The Stones of Venice, and increasingly in works of the later 1850s, such as The Political Economy of Art (A Joy for Ever), but he gave them full expression in the influential and at the time of publication, very controversial essays, Unto This Last.
... the art of becoming "rich," in the common sense, is not absolutely nor finally the art of accumulating much money for ourselves, but also of contriving that our neighbours shall have less. In accurate terms, it is "the art of establishing the maximum inequality in our own favour."
— Ruskin, Unto This Last
Nay, but I choose my physician and my clergyman, thus indicating my sense of the quality of their work. By all means, also, choose your bricklayer; that is the proper reward of the good workman, to be "chosen." The natural and right system respecting all labour is, that it should be paid at a fixed rate, but the good workman employed, and the bad workman unemployed. The false, unnatural, and destructive system is when the bad workman is allowed to offer his work at half-price, and either take the place of the good, or force him by his competition to work for an inadequate sum.
Cook and Wedderburn, 17.V.34 (1860).
At the root of his theory, was Ruskin's dissatisfaction with the role and position of the worker, and especially the artisan or craftsman, in modern industrial capitalist society. Ruskin believed that the economic theories of Adam Smith, expressed in The Wealth of Nations had led, through the division of labour to the alienation of the worker not merely from the process of work itself, but from his fellow workmen and other classes, causing increasing resentment.
Ruskin argued that one remedy would be to pay work at a fixed rate of wages, because human need is consistent and a given quantity of work justly demands a certain return. The best workmen would remain in employment because of the quality of their work (a focus on quality growing out of his writings on art and architecture). The best workmen could not, in a fixed-wage economy, be undercut by an inferior worker or product.
In the preface to Unto This Last (1862), Ruskin recommended that the state should underwrite standards of service and production to guarantee social justice. This included the recommendation of government youth-training schools promoting employment, health, and 'gentleness and justice'; government manufactories and workshops; government schools for the employment at fixed wages of the unemployed, with idlers compelled to toil; and pensions provided for the elderly and the destitute, as a matter of right, received honourably and not in shame. Many of these ideas were later incorporated into the welfare state.[234]
Controversies
[edit]
Turner's erotic drawings
[edit]
Until 2005, biographies of both J. M. W. Turner and Ruskin had claimed that in 1858 Ruskin burned bundles of erotic paintings and drawings by Turner to protect Turner's posthumous reputation. Ruskin's friend Ralph Nicholson Wornum, who was Keeper of the National Gallery, was said to have colluded in the alleged destruction of Turner's works. In 2005, these works, which form part of the Turner Bequest held at Tate Britain, were re-appraised by Turner Curator Ian Warrell, who concluded that Ruskin and Wornum had not destroyed them.[235][236]
Sexuality
[edit]
Ruskin's sexuality has been the subject of a great deal of speculation. He was married once, to Effie Gray, whom he met when she was 12 and he was 21, and Gray's family encouraged a match between the two when she had matured. The marriage was annulled after six years owing to non-consummation. Effie, in a letter to her parents, claimed that Ruskin found her "person" repugnant:
He alleged various reasons, hatred of children, religious motives, a desire to preserve my beauty, and finally this last year he told me his true reason… that he had imagined women were quite different to what he saw I was, and that the reason he did not make me his Wife was because he was disgusted with my person the first evening 10th April [1848].
Ruskin told his lawyer during the annulment proceedings:
It may be thought strange that I could abstain from a woman who to most people was so attractive. But though her face was beautiful, her person was not formed to excite passion. On the contrary, there were certain circumstances in her person which completely checked it.[237]
The cause of Ruskin's "disgust" has led to much conjecture. Mary Lutyens speculated that he rejected Effie because he was horrified by the sight of her pubic hair. Lutyens argued that Ruskin must have known the female form only through Greek statues and paintings of nudes which lacked pubic hair.[238] However, Peter Fuller wrote, "It has been said that he was frightened on the wedding night by the sight of his wife's pubic hair; more probably, he was perturbed by her menstrual blood."[239] Ruskin's biographers Tim Hilton and John Batchelor also took the view that menstruation was the more likely explanation, though Batchelor also suggests that body-odour may have been the problem. There is no evidence to support any of these theories. William Ewart Gladstone said to his daughter Mary, "should you ever hear anyone blame Millais or his wife, or Mr. Ruskin [for the breakdown of the marriage], remember that there is no fault; there was misfortune, even tragedy. All three were perfectly blameless."[240] Ruskins' marriage is the subject of a book by Robert Brownell.[241]
Ruskin's later relationship with Rose La Touche began on 3 January 1858, when she was 10 years old and he was about to turn 39. He was her private art tutor,[242] and the two maintained an educational relationship through correspondence until she was 18. Around that time he asked her to marry him. However, Rose's parents forbade it, after learning about his first marriage.[243] Ruskin repeated his marriage proposal when Rose became 21, and legally free to decide for herself. She was willing to marry if the union would remain unconsummated, because her doctors had told her she was unfit for marriage; but Ruskin declined to enter another such marriage for fear of its effect on his reputation.[244]
Ruskin is not known to have had any sexually intimate relationships. During an episode of mental derangement after Rose died, he wrote a letter in which he insisted that Rose's spirit had instructed him to marry a girl who was visiting him at the time.[245] It is also true that in letters from Ruskin to Kate Greenaway he asked her to draw her "girlies" (as he called her child figures) without clothing:
Will you – (it's all for your own good – !) make her stand up and then draw her for me without a cap – and, without her shoes, – (because of the heels) and without her mittens, and without her – frock and frills? And let me see exactly how tall she is – and – how – round. It will be so good of and for you – And to and for me.[246]
In a letter to his physician John Simon on 15 May 1886, Ruskin wrote:
I like my girls from ten to sixteen—allowing of 17 or 18 as long as they're not in love with anybody but me.—I've got some darlings of 8—12—14—just now, and my Pigwiggina here—12—who fetches my wood and is learning to play my bells.[247][248]
Ruskin's biographers disagree about the allegation of "paedophilia". Tim Hilton, in his two-volume biography, asserts that Ruskin "was a paedophile", alluding by way of explanation to a sensual description by Ruskin of a half-naked girl he saw in Italy and quoting Ruskin's own statements about his liking for young girls, while John Batchelor argues that the term is inappropriate because Ruskin's behaviour does not "fit the profile".[249] Others point to a definite pattern of "nympholeptic" behaviour with regard to his interactions with girls at a Winnington school.[250] However, there is no evidence that Ruskin ever engaged in any sexual activity with anyone at all. According to one interpretation, what Ruskin valued most in pre-pubescent girls was their innocence; the fact that they were not (yet) fully sexually developed. However, James L. Spates describes Ruskin's erotic life as simply "idiosyncratic" and concludes that he "was physically and emotionally normal".[251] The age of consent in the United Kingdom was 12 for females until 1875 and then raised to 16 in 1885, having been 13 in Great Britain between those dates.
Common law of business balance
[edit]
Ruskin was not a fan of buying low and selling high. In the "Veins of Wealth" section of Unto This Last, he wrote: "So far as I know, there is not in history record of anything so disgraceful to the human intellect as the modern idea that the commercial text, 'Buy in the cheapest market and sell in the dearest,' represents, or under any circumstances could represent, an available principle of national economy." Perhaps due to such passages, Ruskin is frequently identified as the originator of the "common law of business balance"—a statement about the relationships of price and quality as they pertain to manufactured goods, and often summarised as: "The common law of business balance prohibits paying a little and getting a lot." This is the core of a longer statement usually attributed to Ruskin, although Ruskin's authorship is disputed among Ruskin scholars. Fred Shapiro maintains that the statement does not appear anywhere in Ruskin's works,[252] and George Landow is likewise sceptical of the claim of Ruskin's authorship.[253] In a posting of the Ruskin Library News, a blog associated with the Ruskin Library (a major collection of Ruskiniana located at Lancaster University), an anonymous library staff member briefly mentions the statement and its widespread use, saying that, "This is one of many quotations ascribed to Ruskin, without there being any trace of them in his writings – although someone, somewhere, thought they sounded like Ruskin."[254] In an issue of the journal Heat Transfer Engineering, Kenneth Bell quotes the statement and mentions that it has been attributed to Ruskin. While Bell believes in the veracity of its content, he adds that the statement does not appear in Ruskin's published works.[255]
Early in the 20th century, this statement appeared—without any authorship attribution—in magazine advertisements,[256][257][258][259] in a business catalogue,[260] in student publications,[261] and, occasionally, in editorial columns.[262][263] Later in the 20th century, however, magazine advertisements, student publications, business books, technical publications, scholarly journals, and business catalogues often included the statement with attribution to Ruskin.[252][264][265][266][267][268][269][270][271]
In the 21st century, and based upon the statement's applicability of the issues of quality and price, the statement continues to be used and attributed to Ruskin—despite the questionable nature of the attribution.[272][273][274][275]
For many years, various Baskin-Robbins ice cream parlours prominently displayed a section of the statement in framed signs: "There is hardly anything in the world that someone cannot make a little worse and sell a little cheaper, and the people who consider price alone are that man's lawful prey."[253][254][276][277][278][279] The signs listed Ruskin as the author of the statement, but the signs gave no information on where or when Ruskin was supposed to have written, spoken, or published the statement. Due to the statement's widespread use as a promotional slogan, and despite questions of Ruskin's authorship, it is likely that many people who are otherwise unfamiliar with Ruskin now associate him with this statement.
Definitions
[edit]
The OED credits Ruskin with the first quotation in 152 separate entries. Some include:
Pathetic fallacy: Ruskin coined this term in Modern Painters III (1856) to describe the ascription of human emotions to inanimate objects and impersonal natural forces, as in "Nature must be gladsome when I was so happy" (Charlotte Brontë, Jane Eyre).[280]
Fors Clavigera: Ruskin gave this title to a series of letters he wrote "to the workmen and labourers of Great Britain" (1871–84). The name was intended to signify three great powers that fashion human destiny, as Ruskin explained at length in Letter 2 (February 1871). These were: force, symbolised by the club (clava) of Hercules; Fortitude, symbolised by the key (clavis) of Ulysses; and Fortune, symbolised by the nail (clavus) of Lycurgus. These three powers (the "fors") together represent human talents and abilities to choose the right moment and then to strike with energy. The concept is derived from Shakespeare's phrase "There is a tide in the affairs of men/ Which, taken at the flood, leads on to fortune" (Brutus in Julius Caesar). Ruskin believed that the letters were inspired by the Third Fors: striking out at the right moment.[281][282]
Illth: Used by Ruskin as the antithesis of wealth, which he defined as life itself; broadly, where wealth is 'well-being', illth is "ill-being".[283]
Theoria: Ruskin's 'theoretic' faculty – theoretic, as opposed to aesthetic – enables a vision of the beautiful as intimating a reality deeper than the everyday, at least in terms of the kind of transcendence generally seen as immanent in things of this world.[284] For an example of the influence of Ruskin's concept of theoria, see Peter Fuller.[285]
Modern Atheism: Ruskin applied this label to "the unfortunate persistence of the clerks in teaching children what they cannot understand and employing young consecrated persons to assert in pulpits what they do not know."[citation needed][286]
Excrescence: Ruskin defined an "excrescence" as an outgrowth of the main body of a building that does not harmonise well with the main body. He originally used the term to describe certain gothic revival features[287] also for later additions to cathedrals and various other public buildings, especially from the Gothic period.[288]
Fictional portrayals
[edit]
In literature
[edit]
Ruskin was the inspiration for either the Drawling Master or the Gryphon in Lewis Carroll's Alice's Adventures in Wonderland (1865).[289][290]
Ruskin figures as Mr Herbert in The New Republic (1878), a novel by one of his Oxford undergraduates, William Mallock (1849–1923).[291]
False Dawn (1924), a novella by Edith Wharton, was the first in the 1924 Old New York series, and had the protagonist meet John Ruskin.
McDonald, Eva (1979). John Ruskin's Wife. Chivers. ISBN 978-0745113005. A novel about the marriage of John Ruskin.
Peter Hoyle's novel, Brantwood: The Story of an Obsession (1986), ISBN 9780856356377, is about two cousins who pursue their interest in Ruskin to his Coniston home.
Morazzoni, Marta (1995). The Invention of Truth. Ecco Pr. ISBN 978-0880013765. A novel in which Ruskin makes his last visit to Amiens cathedral in 1879.
Donoghue, Emma (2002). The Woman Who Gave Birth to Rabbits. Virago. ISBN 978-1860499548. A collection of short stories that includes Come, Gentle Night, about Ruskin and Effie's wedding night.
Manly Pursuits (1999), Ruskin and the Hinksey diggings form the backdrop to Ann Harries' novel. [292]
Sesame and Roses (2007), a short story by Grace Andreacchi that explores Ruskin's twin obsessions with Venice and Rose La Touche.[293]
Benjamin, Melanie (2010), Alice I Have Been. ISBN 0385344139. A fictionalized account of the life of Alice Liddell Hargreaves, the inspiration for Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking Glass.
Light, Descending (2014), is a biographical novel about John Ruskin by Octavia Randolph.[294]
In other media
[edit]
The Love of John Ruskin (1912), a silent movie about Ruskin, Effie and Millais.[295]
Dante's Inferno (1967), Ken Russell's biopic for television of Rossetti, in which Ruskin is played by Clive Goodwin[296]
The Love School (1975), a BBC TV series about the Pre-Raphaelites, starring David Collings (Ruskin), Anne Kidd (Effie), Peter Egan (Millais).[297]
Dear Countess (1983), a radio play by Elizabeth Morgan, with Derek Jacobi (Ruskin), Bridget McCann (Gray), Timothy West (Old Mr Ruskin) Michael Fenner (Millais). The author played Ruskin's mother.[298]
The Passion of John Ruskin (1994), a film directed by Alex Chapple.[299]
Parrots and Owls (1994), a radio play by John Purser about Ruskin's attempt to revive Gothic architecture and his connection to the O'Shea brothers.[297]
Modern Painters (1995), an opera about Ruskin by David Lang.[300]
The Countess (1995), a play written by Gregory Murphy, dealing with Ruskin's marriage.[301]
The Order of Release (1998), a radio play by Robin Brooks about Ruskin (Bob Peck), Effie (Sharon Small) and Millais (David Tennant).[302]
Mrs Ruskin (2003), a play by Kim Morrissey dealing with Ruskin's marriage.[303]
Desperate Romantics (2009), a six-part BBC drama serial about the Pre-Raphaelite Brotherhood. Ruskin is played by Tom Hollander.[297]
Mr. Turner (2014), a biopic of J. M. W. Turner directed by Mike Leigh with Ruskin portrayed by Joshua McGuire.[304]
Effie Gray (2014), a biopic about the Ruskin-Gray-Millais love triangle, written by Emma Thompson, directed by Richard Laxton, and featuring Greg Wise (Ruskin), Dakota Fanning (Gray) and Tom Sturridge (Millais).[305]
Light, Descending (2014), is a biographical novel about John Ruskin by Octavia Randolph.[294]
Gallery
[edit]
Paintings
[edit]
Lion's profile
View of Amalfi
Self Portrait with Blue Neckcloth
River Seine and its Islands
Falls of Schaffhausen
Rocks in Unrest
Fribourg Suisse
Zermatt
Drawings
[edit]
Sunset seen from Goldau (after J. M. W. Turner)
Select bibliography
[edit]
Cook, E. T.; Wedderburn, Alexander (eds.). The Works of John Ruskin. (39 vols.). George Allen, 1903–12. It is the standard scholarly edition of Ruskin's work, the Library Edition, sometimes called simply Cook and Wedderburn. The volume in which the following works can be found is indicated in the form: (Works [followed by the volume number]).[306]
Works by Ruskin
[edit]
Poems (written 1835–1846; collected 1850) (Works 2)
The Poetry of Architecture (serialised The Architectural Magazine 1837–38; authorised book, 1893) (Works 1)
Letters to a College Friend (written 1840–1845; published 1894) (Works 1)
The King of the Golden River, or the Black Brothers. A Legend of Stiria (written 1841; published 1850) (Works 1)
Modern Painters (5 vols.) (1843–1860) (Works 3–7)
Vol. I (1843) (Parts I and II) Of General Principles and of Truth (Works 3)
Vol. II (1846) (Part III) Of the Imaginative and Theoretic Faculties (Works 4)
Vol. III (1856) (Part IV) Of Many Things (Works 5)
Vol. IV (1856) (Part V) Mountain Beauty (Works 6)
Vol. V (1860) (Part VI) Of Leaf Beauty (Part VII) Of Cloud Beauty (Part VIII) Of Ideas of Relation (1) Of Invention Formal (Part IX) Of Ideas of Relation (2) Of Invention Spiritual (Works 7)
The Seven Lamps of Architecture (1849) (Works 8)
Th
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Summary of Life of William Grimes, the Runaway Slave. Written by Himself
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Life of William Grimes, the Runaway Slave. Written by Himself
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William Grimes (1784-1865) was the son of Benjamin Grymes, the wealthy owner of a plantation in King George County, Virginia, and an enslaved servant of Grymes's neighbor, a Dr. Steward. William Grimes served at least ten different masters in Virginia, Maryland, and Georgia, working in such varied positions as house servant, valet, field worker, stable boy, and coachman. He was light-skinned, a fact that enabled him to pass as white on various occasions. Often severely mistreated by both his masters and his fellow slaves, Grimes suffered physical abuse in the house and in the field, and at times became combative or despondent. He escaped slavery in 1814 by stowing away on a ship bound for New York and became an entrepreneur in New England. He eventually settled in New Haven, Connecticut, and married Clarissa Caesar in 1817. They had eighteen children together, twelve of whom survived. After eventually finding a small measure of success, Grimes lost all of his property when his master discovered his location and forced him to buy his freedom or risk being returned to slavery. Grimes wrote the Life of William Grimes and published it in 1825, hoping to regain some of his lost funds. He published a second edition of his autobiography in 1855, updating it with humorous anecdotes and tempering some of his earlier bitterness. Grimes died in August 1865.
The Life of William Grimes was the first book-length autobiography written by a fugitive American slave, and its publication, as scholar Yuval Taylor observes, "inadvertently helped inaugurate a genre" (p. 653). Taylor also notes that Grimes's narrative is one of the first to refer to its author as a slave in the title. Yet his narrative is not as famous as other book-length slave narratives and, according to Taylor, has "had no discernible impact on the genre," which was later influenced by the rhetoric of the Abolitionist movement (p. 654). The Life of William Grimes is an important early text in the slave narrative genre, and it provides a raw and engaging first-hand account of the institution of slavery, unmediated by Abolitionist political aims.
Grimes begins his narrative by commenting on the complications of his status as the son of a wealthy and notorious Virginia planter and the slave of Dr. Steward. Grimes is "in law, a bastard and slave, and owned by Doct. Steward," and although his master treats him kindly, his mistress hates him: upon catching him in the house, she beats him until he "could hardly stand" (pp. 5-6). Grimes maintains a dry frankness about the violence inflicted on him by his masters and mistresses throughout his narrative; rather than explicitly lecturing against the violence of slavery, his forthright descriptions of the abuse he suffers stand as a stark critique of the institution of slavery.
At age ten, Grimes is sold to Col. William Thornton and taken to Montpelier plantation in Culpepper, Virginia, where the other slaves regard him jealously because he is a house slave. They sabotage his work, hoping that one of their family members will replace him in the house. Grimes is responsible for making the family coffee, but the mistress's head servant laces the coffee with cough syrup and blames Grimes for trying to poison them. He is eventually assigned to work in the fields, where he finds the hard labor preferable to the problematic politics of working in the house. Because of the cruel treatment of his overseers, Grimes eventually makes a half-hearted escape attempt but runs out of food and returns to his master. Grimes is then given to his master's son George, who later sells Grimes to his older brother, Dr. P. Thornton, who later sells him to an unnamed person.
Grimes is so dissatisfied by his treatment by his new master, that on the journey to Savannah, he tries unsuccessfully to break his own leg with an axe. His abusive master watches him closely, but Grimes dreams of escape: "He would never allow me to leave the yard, unless it was for the purpose of taking out his horses . . . At such times, I would often go to the fortune-teller . . . She told me I should eventually get away, but that it would be attended with a great deal of trouble" (p. 23). Although Grimes professes belief in Christianity and frequently prays to God, his visit to the fortune teller is only part of his involvement with the occult. While with this master, Grimes describes being tormented by Frankee, another enslaved house servant Grimes describes as a "witch." He claims she deliberately makes trouble for him, turning "herself into almost any different shape she chose," and describes nightmares in which she paralyzes him so that she can "exercise her enchantments" (p. 24). Unable to continue with these indignities, Grimes endeavors to obtain a new master by feigning illness and refusing to eat in front of his master "to make him think he must either sell me or lose me" (p. 27).
Convinced of Grimes' imminent demise, Grimes's master sells him once again; his sixth master, Mr. Oliver Sturges, puts him to work driving a carriage. Sturges intends to travel to New York, but Grimes discovers through fortune tellers that his master has decided not to take Grimes for fear that he "should be free" (p. 28), and Grimes is instead hired out as a driver to a Savannah printer for the summer. Grimes falls ill, however, from sun and insect exposure on a fishing trip, and with his master's permission, goes to live with and work for Doctor Collock. Grimes is treated kindly during his recovery in the doctor's house. He serves Collock for several years as a house servant, and since Grimes is light-skinned, he can travel the streets of Savannah at night, where the guards mistake him for a white man. He even helps a free African American from Richmond to walk the streets unmolested by inviting him to "walk behind me in the capacity of a servant," with "no doubt but I could deceive the watch as I had done before" (p. 42). Though Collock jails him for eight weeks under inhuman conditions for drunkenness, Grimes still calls him "the best and most humane man I ever lived with, or worked under" (p. 39). However, Grimes grows afraid at the increasing threat that Collock might sell him to New Orleans and away from Savannah, so he seeks a new master.
He is sold twice more before being purchased by his final owner, a Mr. Wellman. When the Wellman family travels to Bermuda, Grimes takes his opportunity to escape. Left behind to work for wages, Grimes gets a job loading the Brig Casket from Boston. Grimes makes friends with the "Yankee sailors," who help Grimes escape by leaving "in the centre of the cotton bales on deck, a hole or place sufficiently large for me to stow away in, with my necessary provisions" (p. 51). Grimes stows away and avoids detection at Staten Island, but he is in New York only a short time before he meets Oliver Sturges, his former master, on the street. Sturges apparently assumes Grimes has been sent to New York at the behest of one of his many masters, and Grimes evades detection without telling a lie: "He asked me how all things were going on at his yard in Savannah. I answered, all well, I just came from there, sir. After a few moments conversation, he passed on one way, and I went on towards my lodgings" (p. 53). Knowing that his safety may be in jeopardy, Grimes leaves New York for Hew Haven, Connecticut, where he runs into another former master, Mr. Bullock, prompting him to move once more. Grimes finds it difficult to earn a living in the North, working jobs for low wages and seeking work wherever he can find it: "I found it much harder at this time to be a free man, than I had to be a slave; but finally got to be able to earn fifty cents per day" (p. 55).
Moving from town to town in New England as a barber, Grimes finds financial success elusive, and he is frustrated by the costs of legal suits in which he becomes entangled. He eventually returns to New Haven and develops a thriving business as a barber. Not long thereafter, Grimes overhears a constable identify him as a runaway and flees New Haven, but he realizes he must return to his friends and employment. Upon his return, Grimes is notified that he will be arrested and re-enslaved "if I did not buy myself. I instantly offered to give up my house and land, all I had" (p. 66). Grimes willingly gives all of his financial wealth to keep his freedom. He writes his autobiography hoping that its sale will help remedy his dire financial situation, and he bitterly records the mistreatment he received in both the North and the South. Grimes closes his autobiography with an unforgettable and powerful condemnation of American society as a whole: "If it were not for the stripes on my back which were made while I was a slave, I would in my will, leave my skin a legacy to the government, desiring that it might be taken off and made into parchment, and then bind the constitution of glorious happy and free America. Let the skin of an American slave, bind the charter of American Liberty" (p. 68).
See also the Life of William Grimes, the Runaway Slave, Brought Down to the Present Time [1855 edition].
Works Consulted: Hinks, Peter, "Grimes, William," Encyclopedia of African American History, 1619-1895: From the Colonial Period to the Age of Frederick Douglass, ed. Paul Finkelman, New York: Oxford University Press, 2006, 124; Taylor, Yuval, "Grimes, William," The African American National Biography, eds. Henry Louis Gates, Jr., Evelyn Brooks Higgenbotham, New York: Oxford University Press, 2008, 653-654.
Jenn Williamson
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The 2024 PPMA Show is fast approaching
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For over 35 years the annual PPMA Show has been a highlight of the processing and packaging industry’s calendar.
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Manufacturing Management
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This event, between 24-26 September at the NEC in Birmingham, is renowned for bringing together thousands of visitors and exhibitors from the FMCG sector. It is anticipated that hall 5 will once again be filled with excitement and anticipation, providing visitors with a perfect platform to network with well-known exhibitors and learn about their latest state-of-the-art technologies and solutions.
Owned and organised by Automate UK, the PPMA Show is recognised as the industry leading event. It brings together the very best suppliers of processing and packaging machinery, robotics and industrial vision systems with the capability to deliver significant benefits to a wide range of businesses. These include cost reductions, increased efficiency, quality improvements, and reduced downtime and turnaround, all of which can deliver a healthy return on the investment in these technologies.
The show provides a unique opportunity for visitors to experience a complete production line with every aspect of it being represented, from labelling, filling and packaging to processing, robotics, automation and industrial vision systems.
Visitors will be able to see the latest innovations from an impressive line-up of over 350 exhibitors, comprising over 1,500 brands. These exhibiting companies will be showcasing their latest cutting-edge solutions for the full spectrum of the manufacturing industry, including pharmaceuticals, food and beverages, building materials and suppliers, pet care, and microbrewers and distillers.
The show floor is expected to be vibrant with live demonstrations and product launches, along with experts on hand to help the visitors find the right solutions for their needs. It is anticipated that the show will deliver impressive results with many business transactions taking place during the three-day show.
Aaron Moore, Asset Maintenance Manager, Nestle, said this about the 2023 PPMA Show: “Fantastic day here at the PPMA Show, lots of suppliers that we work with. Some really innovative solutions, and a lot of relatable things for us, so we are taking lots of lessons home.”
Here are just some of the hundreds of exhibitors taking part in the show:
Reiser (D110) has been a leading supplier of processing and packaging equipment for the meat, food, pet food, bakery, and cheese industries for over 60 years. From single machines to complete process-to-packaging production lines, their solutions combine specialised equipment, custom engineering, and in-depth expertise to meet customer challenges.
Videojet (E30) is one of the world-leading manufacturers of coding and marking systems. The company’s portfolio includes its full end-to-end suite of primary, secondary and tertiary equipment, including printing date or batch codes onto a food package and labelling full traceability information on a pallet.
ULMA (B20) provides the most extensive selection of packaging machinery and applications on the market. ULMA’s product range also includes fully automated solutions encompassing crate/case loading, product handling, pick and place, palletizing, end-of-line, and comprehensive turnkey project management.
Ishida (B50) is a world leader in the design, manufacture and installation of end-to-end weighing, packing and safety solutions for the food industry. The company helps manufacturers increase automation and compliance, reduce cost and downtime, increase operational efficiencies and brand protection, and maximise profits.
The comprehensive exhibitor listing is available online to help visitors plan their visit:
https://www.ppmashow.co.uk/exhibitors-2024#/exhibitors/
One of the show highlights is its informative and inspiring expert talks which provide visitors with a wealth of knowledge to take with them to consider how they can apply this to improve their businesses. This year’s keynote speakers are:
Jessica Sansom, Huel: The manifestations of climate change - rising to the challenge and adapting to a new normal
The food industry is responsible for more than a quarter of all global greenhouse gas emissions. Without significant change in this industry, it will be impossible to limit global warming to under 2 degrees.
134 countries at COP 28 signed a declaration on sustainable food systems, meaning that they must now include food in their national climate action plans, including a commitment to shift from higher greenhouse gas-emitting practices to more sustainable production and consumption approaches.
Jessica’s presentation explores what needs to happen in the processing equipment and packaging machinery sector in order to meet those targets.
Stefan Casey, Nestlé: The digital transformation of FMCG industry: How digital technology is bringing both challenges and opportunities in packaging across the whole value chain
Stefan’s talk will focus on affordable personalisation and customisation in packaging design through to production. His presentation will cover points such as the needs for more flexible packaging production solutions, cost effective solutions by optimising end-to-end from design through to manufacturing, and quality control and safety.
Visitors will also have an opportunity to hear from leading industry speakers including Matt Androsiuk - Cobots and Machinery Safety Ltd, Dr Martin Kidman – SICK UK Ltd, Adam Dickins - AD Frameworks Ltd, and Chris Whyborn - Thornton Tomasetti. The seminars provide a wealth of valuable insights covering a wide range of topics, such as industry standards, CE and UKCA marking, automation to reduce carbon footprint, and many more inspiring subjects.
In addition to the seminars UK Automation Forum will be hosting a panel discussion on ‘What would make UK food businesses adopt more robots?’. The panel is hosted and facilitated by Gail Hunt from Automate UK, who will be joined by industry experts including Mike Loughran - Rockwell Automation, Chris Rooum - MTC - Manufacturing Technology Centre (MTC), Mike Wilson - Manufacturing Technology Centre (MTC), Prof Phil Webb - Cranfield University, and Oliver Selby - FANUC UK. The discussion will focus on the positive impact that adopting automation can have on the sector as well as sharing advice and learnings that can help to deliver successful outcomes.
In addition to discovering and exploring various innovations and solutions, experiencing live demonstrations, seeing product launches first-hand and learning at seminars, visitors will have plenty of opportunities to make new business connections and network with industry peers.
Automate UK wants to ensure that visitors have a standout show experience; one of the new features at this year’s show is the free PPMA Show app. This will allow visitors to plan their day, have easy access to their entry ticket and discover all aspects of the show, from exhibitors and products through to a complete list of seminars and speakers.
Scott McKenna, Chief Operating Officer at Automate UK, said: “We’ve been working hard to ensure that the PPMA Show continues to live up to its reputation as the UK’s largest event showcasing innovative technology from the processing and packaging industry. Our aim is to ensure that the show continues to evolve and as such we’ll be introducing new features to enhance the show experience for both visitors and exhibitors.”
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AuthorsTianrong Chen, Jiatao Gu, Laurent Dinh, Evangelos A. Theodorou, Joshua Susskind, Shuangfei Zhai
AuthorsPratyush Maini, Skyler Seto, He Bai, David Grangier, Yizhe Zhang, Navdeep Jaitly
AuthorsRaviteja Vemulapalli, Hadi Pouransari, Fartash Faghri, Sachin Mehta, Mehrdad Farajtabar, Mohammad Rastegari, Oncel Tuzel
AuthorsEtash Guha, Shlok Natarajan, Thomas Mollenhoff, Emtiyaz Khan, Eugene Ndiaye
AuthorsAadi Saha, Brano Kveton
AuthorsTsu-Jui Fu, Wenze Hu, Xianzhi Du, William Wang, Yinfei Yang, Zhe Gan
AuthorsLuhuan Wu, Sinead Williamson
AuthorsXiaoming Zhao, Alex Colburn, Fangchang Ma, Miguel Angel Bautista Martin, Josh Susskind, Alex Schwing
AuthorsIman Mirzadeh, Keivan Alizadeh Vahid, Sachin Mehta, Carlo C Del Mundo, Oncel Tuzel, Golnoosh Samei, Mohammad Rastegari, Mehrdad Farajtabar
AuthorsAjay Jaiswal, Zhe Gan, Xianzhi Du, Bowen Zhang, Zhangyang Wang, Yinfei Yang
AuthorsYizhe Zhang, He Bai, Ruixiang Zhang, Jiatao Gu, Shuangfei Zhai, Josh Susskind, Navdeep Jaitly
AuthorsAndrew Szot, Max Schwarzer, Harsh Agrawal, Bogdan Mazoure, Walter Talbott, Rin Metcalf Susa, Natalie Mackraz, Devon Hjelm, Alexander Toshev
AuthorsAhmed Elhag, Yuyang Wang, Josh Susskind, Miguel Angel Bautista Martin
AuthorsWentao Wu, Aleksei Timofeev, Chen Chen, Bowen Zhang, Kun Duan, Shuangning Liu, Yantao Zheng, Jonathan Shlens, Xianzhi Du, Zhe Gan, Yinfei Yang
AuthorsAmitis Shidani, Devon Hjelm, Jason Ramapuram, Russ Webb, Eeshan Gunesh Dhekane, Dan Busbridge
AuthorsEnric Boix-Adsera, Omid Saremi, Emmanuel Abbe, Samy Bengio, Etai Littwin, Josh Susskind
AuthorsYuanxun Lu, Jingyang Zhang, Shiwei Li, Tian Fang, David McKinnon, Yanghai Tsin, Long Quan, Xun Cao, Yao Yao
AuthorsJingyang Zhang, Shiwei Li, Yuanxun Lu, Tian Fang, David McKinnon, Yanghai Tsin, Long Quan, Yao Yao
AuthorsSayeri Lala, Hanlin Goh, Chris Sandino
AuthorsSachin Mehta, Max Horton, Fartash Faghri, Mohammad Sekhavat, Mahyar Najibikohnehshahri, Mehrdad Farajtabar, Oncel Tuzel, Mohammad Rastegari
AuthorsArnab Mondal, Stefano Alletto, Denis Tome'
AuthorsJiatao Gu, Shuangfei Zhai, Yizhe Zhang, Josh Susskind, Navdeep Jaitly
AuthorsSachin Mehta, Mohammad Sekhavat, Qingqing Cao, Max Horton, Yanzi Jin, Frank Sun, Iman Mirzadeh, Mahyar Najibikohnehshahri, Dmitry Belenko, Peter Zatloukal, Mohammad Rastegari
AuthorsFred Hohman, Chaoqun Wang, Jinmook Lee, Jochen Görtler, Dominik Moritz, Jeffrey Bigham, Zhile Ren, Cecile Foret, Qi Shan, Xiaoyi Zhang
AuthorsYifu Qiu, Varun Embar, Shay B. Cohen, Benjamin Han
AuthorsVimal Thilak, Etai Littwin, Shuangfei Zhai, Omid Saremi, Roni Paiss, Joshua M. Susskind
AuthorsMudit Verma, Rin Metcalf Susa
AuthorsZiyao Wang, Jianyu Wang, Ang Li
AuthorsRan Liu, Ellen Zippi, Hadi Pour Ansari, Chris Sandino, Jingping Nie, Hanlin Goh, Erdrin Azemi, Ali Moin
AuthorsYichen Jiang, Marco Del Vecchio, Anders Johannsen, Mohit Bansal
AuthorsYuhang Zang, Hanlin Goh, Josh Susskind, Chen Huang
AuthorsNoam Razin, Hattie Zhou, Preetum Nakkilan, Josh Susskind, Omid Saremi, Arwen Bradley, Vimal Thilak, Etai Littwin
AuthorsAlex Fang, Albin Madappally Jose, Amit Jain, Ludwig Schmidt, Alexander Toshev, Vaishaal Shankar
AuthorsFred Hohman, Mary Beth Kery, Donghao Ren, Dominik Moritz
AuthorsPavan Kumar Anasosalu Vasu*, Hadi Pour Ansari*, Fartash Faghri*, Raviteja Vemulapalli, Oncel Tuzel
AuthorsOggy Sarawgi, Jack Berkowitz, Vineet Garg, Arnav Kundu, Minsik Cho, Sai Srujana Buddi, Saurabh Adya, Ahmed Tewfik
AuthorsRricha Jalota, Lyan Verwimp, Markus Nussbaum-Thom, Amr Mousa, Arturo Argueta, Youssef Oualil
AuthorsYifan Jiang, Hao Tang, Rick Chang, Liangchen Song, Zhangyang Wang, Liangliang Cao
AuthorsDominik Wagner, Alex Churchill, Siddharth Sigtia, Panos Georgiou, Matt Mirsamadi, Aarshee Mishra, Erik Marchi
AuthorsSaurabh Garg, Hadi Pour Ansari, Mehrdad Farajtabar, Sachin Mehta, Raviteja Vemulapalli, Oncel Tuzel, Vaishaal Shankar, Fartash Faghri
AuthorsBrandon McKinzie, Zhe Gan, Jean-Philippe Fauconnier Biard, Sam Dodge, Philipp Dufter, Bowen Zhang, Dhruti Shah, Xianzhi Du, Futang Peng, Haotian Zhang, Floris Weers, Anton Belyi, Karanjeet Singh, Doug Kang, Ankur Jain, Hongyu He, Max Schwarzer, Tom Gunter, Xiang Kong, Aonan Zhang, Jianyu Wang, Chong Wang, Nan Du, Tao Lei, Sam Wiseman, Mark Lee, Zirui Wang, Ruoming Pang, Peter Grasch, Alexander Toshev, Yinfei Yang
AuthorsAli Mousavi, Xin Zhan, Richard Bai, Peng Shi, Theo Rekatsinas, Benjamin Han, Yunyao Li, Jeff Pound, , Josh Susskind, Natalie Schluter, Ihab Ilyas, Navdeep Jaitly
AuthorsSeanie Lee, Alex Coca, Jianpeng Cheng, Anders Johannsen, Joris Driesen
AuthorsHsuan Su, Ting-Yao Hu, Hema Swetha Koppula, Raviteja Vemulapalli, Jen-Hao Rick Chang, Karren Yang, Gautam Varma Mantena, Oncel Tuzel
AuthorsRebecca Adaimi, Abdelkareem Bedri, Jun Gong, Richard Kang, Joanna Arreaza-Taylor, Gerri-Michelle Pascual, Michael Ralph, Gierad Laput
AuthorsAllegra Laro, Yanqing Chen, Hao He, Babak Aghazadeh
AuthorsJeff Lai*, Haotian Zhang*, Bowen Zhang, Wentao Wu, Felix Bai, Aleksei Timofeev, Xianzhi Du, Zhe Gan, Jiulong Shan, Chen-Nee Chuah, Yinfei Yang, Meng Cao
AuthorsMaryam Taeb, Amanda Swearngin, Eldon Schoop, Regina Cheng, Yue Jiang, Jeff Nichols
AuthorsHaoxiang Wang, Pavan Kumar Anasosalu Vasu, Fartash Faghri, Raviteja Vemulapalli, Mehrdad Farajtabar, Sachin Mehta, Mohammad Rastegari, Oncel Tuzel, Hadi Pour Ansari
AuthorsAsaf Liberman*, Oron Levy*, Soroush Shahi, Cori Tymoszek Park, Mike Ralph, Richard Kang, Abdelkareem Bedri, Gierad Laput
AuthorsSoroush Shahi, Cori Tymoszek Park, Richard Kang, Asaf Liberman, Oron Levy, Jun Gong, Abdelkareem Bedri, Gierad Laput
AuthorsMario Srouji, Jian Zhang, Hugues Thomas
AuthorsLeon Yao, Paul Yiming Li, Jiannan Lu
AuthorsAtharva Kulkarni, Andy Tseng, Joel Moniz, Dhivya Piraviperumal, Hong Yu, Shruti Bhargava
AuthorsReza Salehi, Mehrdad Farajtabar, Max Horton, Fartash Faghri, Hadi Pour Ansari, Raviteja Vemulapalli, Oncel Tuzel, Ali Farhadi, Mohammad Rastegari, Sachin Mehta
AuthorsTakuya Higuchi, Avamarie Brueggeman, Masood Delfarah, Stephen Shum
AuthorsTiffany Tseng, Ruijia Cheng, Jeffrey Nichols
AuthorsClara Borrelli, James Rae, Dogac Basaran, Matt McVicar, Mehrez Souden, Matthias Mauch
AuthorsKaichao You, Guo Qin, Anchang Bao, Meng Cao, Ping Huang, Jiulong Shan, Mingsheng Long
AuthorsYizhe Zhang, Jiarui Lu, Navdeep Jaitly
In collaboration with Stanford University
AuthorsKaran Chadha, Junye Chen, John Duchi, Vitaly Feldman, Hanieh Hashemi, Omid Javidbakht, Audra McMillan, and Kunal Talwar
AuthorsAlaaeldin El-Nouby, Michal Klein, Shuangfei Zhai, Miguel Angel Bautista, Alexander Toshev, Vaishaal Shankar, Joshua M Susskind, Armand Joulin
AuthorsZhihong Lei, Mingbin Xu, Shiyi Han, Leo Liu, Zhen Huang, Tim Ng, Yuanyuan Zhang, Ernest Pusateri, Mirko Hannemann, Yaqiao Deng, Man-Hung Siu
AuthorsTiffany Tseng, Matt J. Davidson, Luis Morales-Navarro, Jennifer King Chen, Victoria Delaney, Mark Leibowitz, Jazbo Beason, R. Benjamin Shapiro
AuthorsKumari Nishu, Minsik Cho, Paul Dixon, Devang Naik
AuthorsVikramjit Mitra, Jingping Nie, Erdrin Azemi
AuthorsSalar Abbaspourazad, Oussama Elachqar, Andrew C. Miller, Saba Emrani, Udhyakumar Nallasamy, Ian Shapiro
AuthorsHilal Asi, Daogao Liu
AuthorsEtash Guha, Shlok Natarajan, Thomas Möllenhoff, Emtiyaz Khan, Eugene Ndiaye
AuthorsChien-Yu Lin, Qichen Fu, Thomas Merth, Karren Yang, Anurag Ranjan
AuthorsOrtal Senouf, Jens Behrmann, Joern-Henrik Jacobsen, Pascal Frossard, Emmanuel Abbe, Antoine Wehenkel
AuthorsAlexandre Bittar, Paul Dixon, Mohammad Samragh, Kumari Nishu, Devang Naik
AuthorsAntoine Wehenkel, Jens Behrmann, Andrew C. Miller, Guillermo Sapiro, Ozan Sener, Marco Cuturi Cameto, Jörn-Henrik Jacobsen
AuthorsMeyer Scetbon*, Michal Klein*, Giovanni Palla, Marco Cuturi
AuthorsZhihong Lei, Ernest Pusateri, Shiyi Han, Leo Liu, Mingbin Xu, Tim Ng, Ruchir Travadi, Youyuan Zhang, Mirko Hannemann, Man-Hung Siu, Zhen Huang
AuthorsHaoxuan You, Haotian (AIML) Zhang, Liangliang Cao, Zhe Gan, Bowen Zhang, Zirui Wang, Xianzhi Du, Shih-Fu Chang, Yinfei Yang
AuthorsAmrith Setlur*, Vitaly Feldman*, Kunal Talwar*
AuthorsRaviteja Anantha Ramesh, Bortik Bandyopadhyay, Anirudh Kashi, Sayantan Mahinder, Andrew W Hill, Srinivas (Vasu) Chappidi
In collaboration with EPFL, Massachusetts Institute of Technology
AuthorsEnric Boix-Adsera, Etai Littwin, Emmanuel Abbe, Samy Bengio, Joshua Susskind
AuthorsSheikh Shams Azam, Tatiana Likhomanenko, Martin Pelikan, Jan "Honza" Silovsky
In collaboration with University of Göttingen
AuthorsPolina Turishcheva*, Jason Ramapuram*, Sinead Williamson*, Dan Busbridge, Eeshan Dhekane, Russ Webb
AuthorsRaviteja Anantha Ramesh, Tharun Bethi, Danil Vodianik, Srinivas (Vasu) Chappidi
In collaboration with University of Washington
AuthorsSamir Yitzhak Gadre*, Gabriel Ilharco*, Alex Fang*, Jonathan Hayase, Georgios Smyrnis, Thao Nguyen, Ryan Marten, Mitchell Wortsman, Dhruba Ghosh, Jieyu Zhang, Eyal Orgad, Rahim Entezari, Giannis Daras, Sarah Pratt, Vivek Ramanujan, Yonatan Bitton, Kalyani Marathe, Stephen Mussmann, Richard Vencu, Mehdi Cherti, Ranjay Krishna, Pang Wei Koh, Olga Saukh, Alexander Ratner, Shuran Song, Hannaneh Hajishirzi, Ali Farhadi, Romain Beaumont, Sewoong Oh, Alex Dimakis, Jenia Jitsev, Yair Carmon, Vaishaal Shankar, Ludwig Schmidt
AuthorsPranay Dighe, Yi (Siri) Su, Daniel Zheng, Yunshu Liu, Vineet Garg, Xiaochuan Niu, Ahmed Tewfik
AuthorsGautam Krishna, Sameer Dharur, Oggi Rudovic, Pranay Dighe, Saurabh Adya, Ahmed Hussen Abdelaziz, Ahmed H Tewfik
AuthorsMingbin Xu*, Congzheng Song*, Ye Tian, Neha Agrawal, Filip Granqvist, Rogier van Dalen, Xiao Zhang, Arturo Argueta, Shiyi Han, Yaqiao Deng, Leo Liu, Anmol Walia, Alex Jin
AuthorsVimal Thilak, Omid Saremi, Preetum Nakkiran, Josh Susskind, Chen Huang, Hanlin Goh, Laurent Dinh, Etai Littwin
AuthorsFederico Danieli, Miguel Sarabia, Xavier Suau, Pau RodrÃguez, Luca Zappella
In collaboration with Max Planck Institute for Intelligent Systems
AuthorsMuhammed Kocabas, Rick Chang, James Gabriel, Oncel Tuzel, Anurag Ranjan
AuthorsDominik Wagner*, Alex Churchill*, Siddharth Sigtia, Panos Georgiou, Matt Mirsamadi, Aarshee Mishra, Erik Marchi
AuthorsMark Levy, Bruno Di Giorgi, Floris Weers, Angelos Katharopoulos, Tom Nickson
AuthorsYuyang Wang, Ahmed Elhag, Navdeep Jaitly, Josh Susskind, Miguel Angel Bautista Martin
AuthorsDan Busbridge*, Jason Ramapuram*, Pierre Ablin*, Tatiana Likhomanenko*, Eeshan Gunesh Dhekane, Xavier Suau, Russ Webb
AuthorsYuhui Zhang, Brandon McKinzie, Vaishaal Shankar, Zhe Gan, Alexander Toshev
In collaboration with EPFL
AuthorsDavid Mizrahi*, Roman Bachmann*, Oguzhan Fatih Kar, Teresa Yeo, Mingfei Gao, Afshin Dehghan, Amir Zamir
AuthorsAmin Ghiasi, Ali Shafahi, Reza Ardekani
AuthorsFarima Fatahi Bayat, Kun Qian, Benjamin Han, Yisi Sang, Anton Belyi, Samira Khorshidi, Fei Wu, Ihab Ilyas, Yunyao Li
AuthorsTelmo Pessoa Pires, António V. Lopes, Yannick Assogba, Hendra Setiawan
AuthorsIman Mirzadeh, Keivan Alizadeh, Sachin Mehta, Carlo C Del Mundo, Oncel Tuzel, Golnoosh Samei, Mohammad Rastegari, Mehrdad Farajtabar
AuthorsAravind Gollakota, Parikshit Gopalan, Adam R. Klivans, Konstantinos Stavropoulos
In collaboration with Stanford University, University of California, Berkeley
AuthorsParikshit Gopalan, Michael P. Kim, Omer Reingold
AuthorsSheikh Shams Azam, Martin Pelikan, Vitaly Feldman, Kunal Talwar, Honza Silovsky, Tatiana Likhomanenko
AuthorsSimone Conia, Min Li, Daniel Lee, Umar Farooq Minhas, Ihab IIyas, Yunyao Li
AuthorsHaoxiang Wang, Pavan Kumar Anasosalu Vasu, Fartash Faghri, Raviteja Vemulapalli, Mehrdad Farajtabar, Sachin Mehta, Mohammad Rastegari, Oncel Tuzel, Hadi Pouransari
AuthorsSaurabh Garg, Hadi Pour Ansari, Mehrdad Farajtabar, Sachin Mehta, Raviteja Vemulapalli, Oncel Tuzel, Vaishaal Shankar, Fartash Faghri
AuthorsHattie Zhou, Arwen Bradley, Etai Littwin, Noam Razin, Omid Saremi, Josh Susskind, Samy Bengio, Preetum Nakkiran
AuthorsAndy Miller, Joe Futoma
Authors*Halim Cagri Ates, Shruti Bhargava, Site Li, Jiarui Lu, Siddhardha Maddula, Joel Ruben Antony Moniz, Anil Kumar Nalamalapu, Roman Hoang Nguyen, Melis Ozyildirim, Alkesh Patel, Dhivya Piraviperumal, Vincent Renkens, Ankit Samal, Thy Tran, Bo-Hsiang Tseng, Hong Yu, Yuan Zhang, Rong Zou
AuthorsJavier Ferrando, Matthias Sperber, Hendra Setiawan, Dominic Telaar, Saša Hasan
AuthorsElvis Nunez, Yanzi Jin, Mohammad Rastegari, Sachin Mehta, Maxwell Horton
AuthorsPrasad Gabbur
AuthorsYizhe Zhang, Jiatao Gu, Zhuofeng Wu, Shuangfei Zhai, Josh Susskind, Navdeep Jaitly
AuthorsGabrielle Cohn, Rishika Agarwal, Deepanshu Gupta, Siddharth Patwardhan
AuthorsDaria Reshetova*, Swetava Ganguli*, C. V. Krishnakumar Iyer, Vipul Pandey
AuthorsLeon Liyang Zhang*, Jiarui Lu*, Joel Ruben Antony Moniz*, Aditya Kulkarni, Dhivya Piraviperumal, Tien Dung Tran, Nicholas Tzou, Hong Yu
AuthorsJunyi Shen*, Dayvid V. R. Oliveira*, Jin Cao, Brian Knott, Goodman Gu, Sindhu Vijaya Raghavan, Yunye Jin, Nikita Sudan, Rob Monarch
AuthorsDavid Q. Sun*, Artem Abzaliev*, Hadas Kotek, Zidi Xiu, Christopher Klein, Jason D. Williams
In collaboration with Universitat Politècnica de Catalunya
AuthorsBelen Alastruey, Matthias Sperber, Christian Gollan, Dominic Telaar, Tim Ng, Aashish Agargwal
AuthorsNoah Stier, Baptiste Angles, Liang Yang, Yajie Yan, Alex Colburn, Ming Chuang
In collaboration with Carnegie Mellon University
AuthorsJason Wu, Rebecca Krosnick, Eldon Schoop, Amanda Swearngin, Jeffrey P. Bigham, Jeffrey Nichols
In collaboration with Healthy Minds Innovation, Inc.
AuthorsTammi R. A. Kral, Helen Y. Weng, Vikramjit Mitra, Theodore P. Imhoff-Smith, Erdrin Azemi, Robin I. Goldman, Melissa A. Rosenkranz, Sarah Wu, Andrew Chen, and Richard J. Davidson
In collaboration with Columbia University, Stanford University
AuthorsJarosÅaw BÅasiok, Parikshit Gopalan, Lunjia Hu, Preetum Nakkiran
In collaboration with ETH Zurich, Tongji University, University of California, San Diego, University of Pennsylvania
AuthorsHansheng Chen, Jiatao Gu, Anpei Chen, Wei Tian, Zhuowen Tu, Lingjie Liu, Hao Su
AuthorsPavan Kumar Anasosalu Vasu, James Gabriel, Jeff Zhu, Oncel Tuzel, Anurag Ranjan
In collaboration with Technical University of Munich
AuthorsZiya Erkoç, Fangchang Ma, Qi Shan, Matthias NieÃner, Angela Dai
In collaboration with Hong Kong University of Science and Technology, Nanjing University
AuthorsJingyang Zhang, Yao Yao, Shiwei Li, Jingbo Liu, Tian Fang, David McKinnon, Yanghai Tsin, Long Quan
AuthorsHadas Kotek, Rikker Dockum, David Q. Sun
AuthorsFartash Faghri, Hadi Pouransari, Sachin Mehta, Mehrdad Farajtabar, Ali Farhadi, Mohammad Rastegari, Oncel Tuzel
In collaboration with Carnegie Mellon University
AuthorsSo Yeon Min, Yao-Hung Hubert Tsai, Wei Ding, Ali Farhadi, Ruslan Salakhutdinov, Yonatan Bisk, Jian Zhang
AuthorsJing Zhou, Jiannan Lu, Anas Shallah
AuthorsCecilia Aas, Hisham Abdelsalam, Irina Belousova, Shruti Bhargava, Jianpeng Cheng, Robert Daland, Joris Driesen, Federico Flego, Tristan Guigue, Anders Johannsen, Partha Lal, Jiarui Lu, Joel Ruben Antony Moniz, Nathan Perkins, Dhivya Piraviperumal, Stephen Pulman, Diarmuid à Séaghdha, David Q. Sun, John Torr, Marco Del Vecchio, Jay Wacker, Jason D. Williams, Hong Yu
AuthorsSrivas Chennu,* Andrew Maher,* Christian Pangerl, Subash Prabanantham, Jae Hyeon Bae, Jamie Martin, Bud Goswami
AuthorsShiwen Zhao, Charles Crissman, Guillermo R Sapiro
AuthorsMegan Maher Welsh, David Koski, Miguel Sarabia, Niv Sivakumar, Ian Arawjo, Aparna Joshi, Moussa Doumbouya, Xavier Suau, Luca Zappella, Nicholas Apostoloff
AuthorsNoah Stier, Anurag Ranjan, Alex Colburn, Yajie Yan, Liang Yang, Fangchang Ma, Baptiste Angles
AuthorsTuomo Raitio, Javier Latorre, Andrea Davis, Tuuli Morrill, Ladan Golipour
AuthorsArnav Kundu*, Chungkuk Yoo*, Srijan Mishra*, Minsik Cho, Saurabh Adya
In collaboration with Georgia Institute of Technology
AuthorsEtash Kumar Guha, Eugene Ndiaye, Xiaoming Huo
AuthorsXavier Suau, Federico Danieli, T. Anderson Keller, Arno Blaas, Chen Huang, Jason Ramapuram, Dan Busbridge, Luca Zappella
AuthorsMinsik Cho, Saurabh Adya, Devang Naik
In collaboration with University of California, San Diego
AuthorsTatsuki Koga, Congzheng Song, Martin Pelikan, Mona Chitnis
In collaboration with Massachusetts Institute of Technology
AuthorsJason M. Altschuler, Kunal Talwar
AuthorsBorja RodrÃguez Gálvez, Arno Blaas, Pau Rodriguez, Adam Golinski, Xavier Suau, Jason Ramapuram, Dan Busbridge, Luca Zappella
AuthorsAlvin Wan, Hans Hao, Kaushik Patnaik, Sam Xu, Omer Hadad, David Guera, Zhile Ren, Qi Shan
In collaboration with University of California, San Diego, University of Pennsylvania
AuthorsJiatao Gu, Alex Trevithick, Kai-En Lin, Josh Susskind, Christian Theobalt, Lingjie Liu, Ravi Ramamoorthi
AuthorsJiatao Gu, Shuangfei Zhai, Yizhe Zhang, Lingjie Liu, Josh Susskind
AuthorsShruti Bhargava, Anand Dhoot, Ing-Marie Jonsson, Hoang Long Nguyen, Alkesh Patel, Hong Yu, Vincent Renkens
AuthorsYao-Hung Hubert Tsai, Hanlin Goh, Ali Farhadi, Jian Zhang
AuthorsJiarui Lu*, Bo-Hsiang Tseng*, Joel Ruben Antony Moniz*, Site Li, Xueyun Zhu, Hong Yu, Murat Akbacak
AuthorsMarco Cuturi, Michal Klein, Pierre Ablin
In collaboration with Tel Aviv University
AuthorsHilal Asi*, Vitaly Feldman*, Tomer Koren*, Kunal Talwar*
AuthorsMiguel Sarabia, Elena Menyaylenko, Alessandro Toso, Zak Aldeneh, Shadi Pirhosseinloo, Luca Zappella, Barry Theobald, Nick Apostoloff, Jonathan Sheaffer
AuthorsShuangfei Zhai*, Tatiana Likhomanenko*, Etai Littwin*, Dan Busbridge*, Jason Ramapuram*, Yizhe Zhang, Jiatao Gu, Josh M. Susskind.
AuthorsThéo Uscidda, Marco Cuturi
AuthorsHonza (Jan) Silovsky, Liuhui Deng, Arturo Argueta, Tresi Arvizo, Roger Hsiao, Sasha Kuznietsov, Yiu-Chang Lin, Xiaoqiang Xiao, Yuanyuan Zhang
In collaboration with Carnegie Mellon University, Ulm University
AuthorsAlex Bäuerle*, Ãngel Alexander Cabrera*, Fred Hohman, Megan Maher, David Koski, Xavier Suau, Titus Barik, Dominik Moritz
In collaboration with Columbia University, Stanford University
AuthorsJarosÅaw BÅasiok, Parikshit Gopalan, Lunjia Hu, Preetum Nakkiran
AuthorsMaurits Bleeker, Pawel Swietojanski, Stefan Braun, Xiaodan Zhuang
AuthorsColin Lea*, Dianna Yee*, Jaya Narain, Zifang Huang, Lauren Tooley, Jeffrey P. Bigham, Leah Findlater
AuthorsKumari Nishu, Minsik Cho, Devang Naik
In collaboration with Tel Aviv University
AuthorsHilal Asi*, Vitaly Feldman*, Tomer Koren*, Kunal Talwar*
In collaboration with University at Buffalo
AuthorsLiangchen Song, Liangliang Cao, Hongyu Xu, Kai Kang, Feng Tang, Junsong, Yuan, Yang Zhao
In collaboration with Nanyang Technological University, Singapore
AuthorsYuhang Zang, Kaiyang Zhou, Chen Huang, Chen Change Loy
AuthorsOggi Rudovic, Wonil Chang, Vineet Garg, Pranay Dighe, Pramod Simha, Jack Berkowitz, Ahmed H. Abdelaziz, Sachin Kajarekar, Erik Marchi, Saurabh Adya
AuthorsTiffany Tseng, Jennifer King Chen, Mona Abdelrahman, Mary Beth Kery, Fred Hohman, Adriana Hilliard, R. Benjamin Shapiro
AuthorsSai Srujana Buddi, Utkarsh Oggy Sarawgi, Tashweena Heeramun, Karan Sawnhey, Ed Yanosik, Saravana Rathinam, Saurabh Adya
AuthorsMarkus Nussbaum-Thom, Lyan Verwimp, Youssef Oualil
AuthorsManuel Bähr*, Nils Braun*, Katrin Honauer*, Ming-Chuan Wu*
AuthorsIhab F. Ilyas*, JP Lacerda*, Yunyao Li*, Umar Farooq Minhas*, Ali Mousavi*, Jeffrey Pound*, Theodoros Rekatsinas*, Chiraag Sumanth*
AuthorsBrandon McKinzie, Joseph Cheng, Vaishaal Shankar, Yinfei Yang, Jonathon Shlens, Alexander Toshev
AuthorsTelmo Pessoa Pires, Robin M. Schmidt, Yi-Hsiu Liao, Stephan Peitz
AuthorsChristophe Van Gysel
AuthorsVasudha Kowtha, Miquel Espi Marques, Jonathan Huang, Yichi Zhang, Carlos Avendano
In collaboration with Oregon State University
AuthorsWenxuan Wu, Li Fuxin, Qi Shan
In collaboration with University of Amsterdam
AuthorsAli Vardasbi*, Telmo Pessoa Pires*, Robin M. Schmidt, Stephan Peitz
AuthorsChen Ziwen, Kaushik Patnaik, Shuangfei Zhai, Alvin Wan, Zhile Ren, Alex Schwing, Alex Colburn, Li Fuxin
In collaboration with University of Southern California
AuthorsMozhdeh Gheini, Tatiana Likhomanenko, Matthias Sperber, Hendra Setiawan
AuthorsHilal Asi*, Jonathan Ullman*, Lydia Zakynthinou*
In collaboration with EPFL
AuthorsEmmanuel Abbe, Samy Bengio, Aryo Lotfi, Kevin Rizk
AuthorsYi Cao*, Swetava Ganguli*, Vipul Pandey
AuthorsArno Blaas*, Andrew C. Miller*, Luca Zappella, Jörn-Henrik Jacobsen, Christina Heinze-Deml
AuthorsJiatao Gu, Shuangfei Zhai, Yizhe Zhang, Miguel Ãngel Bautista, Joshua M. Susskind
AuthorsJason Mohoney, Anil Pacaci, Shihabur Rahman Chowdhury, Ali Mousavi, Ihab F. Ilyas, Umar Farooq Minhas, Jeffrey Pound, and Theodoros Rekatsinas
In collaboration with University of Maryland
AuthorsTrisha Mittal, Zakaria Aldeneh, Masha Fedzechkina, Anurag Ranjan, Barry-John Theobald
AuthorsZakaria Aldenehâ, Masha Fedzechkinaâ, Skyler Seto, Katherine Metcalf, Miguel Sarabia, Nicholas Apostoloff, Barry-John Theobald
AuthorsAnurag Ranjan, Kwang Moo Yi, Jen-Hao Rick Chang, Oncel Tuzel
In collaboration with Georgia Institute of Technology, University of California, Berkeley
AuthorsSamantha Robertson*, Zijie J. Wang*, Dominik Moritz, Mary Beth Kery, Fred Hohman
AuthorsZidi Xiu*, Kai-Chen Cheng*, David Q. Sun*, Jiannan Lu, Hadas Kotek, Yuhan Zhang, Paul McCarthy, Christopher Klein, Stephen Pulman, Jason D. Williams
AuthorsKarren Yang, Ting-Yao Hu, Jen-Hao Rick Chang, Hema Swetha Koppula, Oncel Tuzel
In collaboration with Carnegie Mellon University, The University of British Columbia
AuthorsJen-Hao Rick Chang, Wei-Yu Chen, Anurag Ranjan, Kwang Moo Yi, Oncel Tuzel
In collaboration with Carnegie Mellon University
AuthorsDan Berrebbi, Ronan Collobert, Samy Bengio, Navdeep Jaitly, Tatiana Likhomanenko
AuthorsPavan Kumar Anasosalu Vasu, James Gabriel, Jeff Zhu, Oncel Tuzel and Anurag Ranjan
AuthorsStefan Braun, Erik McDermott, Roger Hsiao
AuthorsDavid Berthelot, Arnaud Autef, Jierui Lin, Dian Ang Yap, Shuangfei Zhai, Siyuan Hu, Daniel Zheng, Walter Talbott, Eric Gu
AuthorsPawel Swietojanski, Stefan Braun, Dogan Can, Thiago Fraga da Silva, Arnab Ghoshal, Takaaki Hori, Roger Hsiao, Henry Mason, Erik McDermott, Honza Silovsky, Ruchir Travadi, Xiaodan Zhuang
AuthorsColin Lea, Zifang Huang, Jaya Narain, Lauren Tooley, Dianna Yee, Tien Dung Tran, Panayiotis Georgiou, Jeffrey Bigham, Leah Findlater
AuthorsMohammad Samragh, Arnav Kundu, Ting-Yao Hu, Aman Chadha, Ashish Srivastava, Minsik Cho, Oncel Tuzel, Devang Naik
In collaboration with Carnegie Mellon University
AuthorsDan Berrebbi, Ronan Collobert, Navdeep Jaitly, Tatiana Likhomanenko
AuthorsVikramjit Mitra, Vasudha Kowtha, Hsiang-Yun Sherry Chien, Erdrin Azemi, Carlos Avendano
AuthorsHao Yen, Woojay Jeon
AuthorsChen Huang, Hanlin Goh, Jiatao Gu, Josh Susskind
In collaboration with Georgia Institute of Technology
AuthorsShancong Mou, Meng Cao, Haoping Bai, Ping Huang, Jianjun Shi, Jiulong Shan
In collaboration with Georgia Institute of Technology
AuthorsShancong Mou, Xiaoyi Gu, Meng Cao, Haoping Bai, Ping Huang, Jiulong Shan, Jianjun Shi
In collaboration with University of Liège
AuthorsAntoine Wehenkel, Jens Behrmann, Hsiang Hsu, Guillermo Sapiro, Gilles Louppe, Joern-Henrik Jacobsen
AuthorsFloris Weers, Vaishaal Shankar, Angelos Katharopoulos, Yinfei Yang, Tom Gunter
AuthorsPranay Dighe, Prateeth Nayak, Oggi Rudovic, Erik Marchi, Xiaochuan Niu, Ahmed Tewfik
AuthorsFlorian Jaeckle*, Fartash Faghri, Ali Farhadi, Oncel Tuzel, Hadi Pouransari*
In collaboration with Stanford University, University of California, Berkeley
AuthorsParikshit Gopalan, Lunjia Hu, Michael P. Kim, Omer Reingold, Udi Wieder
In collaboration with University of Oxford
AuthorsKejie Li, Jia-Wang Bian, Robert Castle, Philip H.S. Torr, Victor Adrian Prisacariu
AuthorsPeiye Zhuang, Samira Abnar, Jiatao Gu, Alex Schwing, Joshua M. Susskind, Miguel Ãngel Bautista
AuthorsArnav Kundu, Mohammad Samragh Razlighi, Minsik Cho, Priyanka Padmanabhan, Devang Naik
In collaboration with Massachusetts Institute of Technology
AuthorsAspen Hopkins, Fred Hohman, Luca Zappella, Xavier Suau, Dominik Moritz
AuthorsPranav Kamath, Yiwen Sun, Thomas Semere, Adam Green, Scott Manley, Xiaoguang Qi, Kun Qian, Yunyao Li, and Mina Farid
AuthorsSachin Mehta, Saeid Naderiparizi, Fartash Faghri, Maxwell Horton, Lailin Chen, Ali Farhadi, Oncel Tuzel, Mohammad Rastegari
AuthorsBenjamin Muller, Deepanshu, Gupta Siddharth, Patwardhan, Jean-Philippe Fauconnier, David Vandyke, Sachin Agarwal
In collaboration with Stanford University, University of Washington
AuthorsSteve Mussmann, Julia Reisler, Daniel Tsai, Ehsan Mousavi, Shayne OâBrien, Moises Goldszmidt
AuthorsAtila Orhon, Michael Siracusa, Aseem Wadhwa
In collaboration with ETH Zurich
AuthorsCharlotte Bunne, Andreas Krause, Marco Cuturi
AuthorsAchille Nazaret*, Sana Tonekaboni*, Greg Darnell, Shirley Ren, Guillermo Sapiro, Andrew C. Miller
AuthorsArwen V Bradley*, Carlos A Gomez-Uribe*, and Manish Reddy Vuyyuru
In collaboration with Tsinghua University
AuthorsXuan Zhang, Shiyu Li, Xi Li, Ping Huang, Jiulong Shan, Ting Chen
In collaboration with Arizona State University
AuthorsMudit Verma, Katherine Metcalf
AuthorsMelody Wolk, Andy Applebaum, Camron Dennler, Patrick Dwyer, Marina Moskowitz, Harold Nguyen, Nicole Nichols, Nicole Park, Paul Rachwalski, Frank Rau, and Adrian Webster
AuthorsKatherine Metcalf, Miguel Sarabia, Barry-John Theobald
AuthorsThomas Anderson Keller, Xavier Suau, Luca Zappella
AuthorsTatiana Likhomanenko, Ronan Collobert, Navdeep Jaitly, Samy Bengio
AuthorsAndrius Ovsianas, Jason Ramapuram, Dan Busbridge, Eeshan Gunesh Dhekane, Russ Webb
AuthorsRachel Cummings*, Vitaly Feldman*, Audra McMillan*, Kunal Talwar*
AuthorsJin Xu, Xiaojiang Liu, Jianhao Yan, Deng Cai, Huayang Li, Jian Li
In collaboration with Cornell University, EPFL, Google
AuthorsEmmanuel Abbe, Samy Bengio, Elisabetta Cornacchia, Jon Kleinberg, Aryo Lotfi, Maithra Raghu, Chiyuan Zhang
In collaboration with Stanford University
AuthorsJohn Duchi*, Vitaly Feldman*, Lunjia Hu*, Kunal Talwar*
AuthorsAchille Nazaret, Guillermo Sapiro
In collaboration with Harvard University, University of Liège
AuthorsAntoine Wehenkel, Jens Behrmann, Hsiang Hsu, Guillermo Sapiro, Gilles Louppe, Joern-Henrik Jacobsen
AuthorsHsiang-Yun Sherry Chien, Hanlin Goh, Christopher M. Sandino, Joseph Y. Cheng
In collaboration with Carnegie Mellon University, University of Adelaide
AuthorsMosam Dabhi, Chaoyang Wang, Tim Clifford, Laszlo Jeni, Ian Fasel, Simon Lucey
In collaboration with University of California, Berkeley
AuthorsAndrew C. Miller; Lauren A. Hannah; Joseph Futoma; Nicholas J. Foti; Emily B. Fox; Alexander DâAmour; Mark Sandler; Rif A. Saurous; Joseph A. Lewnard
In collaboration with Carnegie Mellon University
AuthorsElan Rosenfeld, Preetum Nakkiran, Hadi Pouransari, Oncel Tuzel, Fartash Faghri
AuthorsShreyas Seshadri, Tuomo Raitio, Dan Castellani, Jiangchuan Li
AuthorsVimal Thilak, Etai Littwin, Shuangfei Zhai, Omid Saremi, Roni Paiss and Josh Susskind
AuthorsAdnan Haider, Tim Ng, Zhen Huang, Xingyu Na, Antti Veikko Rosti
AuthorsRobin M. Schmidt, Telmo Pires, Stephan Peitz, Jonas Lööf
In collaboration with University of Cambridge
AuthorsJosef Valvoda, Yimai Fang, David Vandyke
AuthorsHarshat Kumar, Hojjat Seyed Mousavi, Behrooz Shahsavari
AuthorsMagda Amiridi, Gregory Darnell, Sean Jewell
AuthorsA. Michael Carrell, Neil Mallinar, James Lucas, Preetum Nakkiran
In collaboration with University of Washington
AuthorsChien-Yu Lin*, Anish Prabhu*, Thomas Merth, Sachin Mehta, Anurag Ranjan, Maxwell Horton, Mohammad Rastegari
AuthorsHaozhe An, Xiaojiang Liu, Jian Zhang
In collaboration with ENSAE/CREST
AuthorsMeyer Scetbon, Marco Cuturi
AuthorsMario Srouji, Wei Ding, Yao-Hung Hubert Tsai, Ali Farhadi, and Jian Zhang
AuthorsVikramjit Mitra, Hsiang-Yun Sherry Chien, Vasudha Kowtha, Joseph Yitan Cheng, Erdrin Azemi
In collaboration with Max Planck Institute for Intelligent Systems, Technical University of Munich
AuthorsYawar Siddiqui, Justus Thies, Fangchang Ma, Qi Shan, Matthias NieÃner, and Angela Dai
In collaboration with UIUC
AuthorsXiaoming Zhao, Fangchang Ma, David Güera, Zhile Ren, Alexander G. Schwing, Alex Colburn
AuthorsCongzheng Song, Filip Granqvist, Kunal Talwar
In collaboration with Massachusetts Institute of Technology
AuthorsJason M. Altschuler*, Kunal Talwar*
AuthorsSiyong Ma, Puja Das, Sofia Maria Nikolakaki, Qifeng Chen, Humeyra Topcu Altintas
AuthorsMiguel Angel Bautista, Pengsheng Guo, Samira Abnar, Walter Talbott, Alexander Toshev, Zhuoyuan Chen, Laurent Dinh, Shuangfei Zhai, Hanlin Goh, Daniel Ulbricht, Afshin Dehghan, Josh Susskind
In collaboration with Carnegie Mellon University, UIUC, University of Michigan
AuthorsJiacheng Zhu, Gregory Darnell, Agni Kumar, Ding Zhao, Bo Li, Xuanlong Nguyen, Shirley You Ren
AuthorsCandace Williams, Lilian de Greef, Ed Harris, Leah Findlater, Amy Pavel, Cynthia Bennett
AuthorsSoheil Esmaeilzadeh, Brian Williams, Davood Shamsi, Onar Vikingstad
AuthorsMaxwell Horton, Yanzi Jin, Ali Farhadi, Mohammad Rastegari
In collaboration with Carnegie Mellon University
AuthorsFNU Abhimanyu*, Tejas Zodage*, Umesh Thillaivasan, Xinyue Lai, Rahul Chakwate, Javier Santillan, Emma Oti, Ming Zhao, Ralph Boirum Howie Choset, Matthew Travers
In collaboration with Hong Kong University of Science and Technology
AuthorsHongkai Chen, Zixin Luo, Lei Zhou, Yurun Tian, Mingmin Zhen, Tian Fang, David Mckinnon, Yanghai Tsin, Long Quan
AuthorsBruno Di Giorgi*, Mark Levy*, Richard Sharp
AuthorsMassimo Quadrana, Antoine Larreche-Mouly, Matthias Mauch
AuthorsPrateeth Nayak, Takuya Higuchi, Anmol Gupta, Shivesh Ranjan, Stephen Shum, Siddharth Sigtia, Erik Marchi, Varun Lakshminarasimhan, Minsik Cho, Saurabh Adya, Chandra Dhir, Ahmed Tewfik
In collaboration with Hong Kong University of Science and Technology
AuthorsYao Yao, Jingyang Zhang, Jingbo Liu, Yihang Qu, Tian Fang, David McKinnon, Yanghai Tsin, Long Quan
In collaboration with COLING, Massachusetts Institute of Technology
AuthorsRajiv Movva*, Jinhao Lei*, Shayne Longpre, Ajay Gupta, Chris DuBois
AuthorsRongqing Huang
AuthorsSachin Mehta, Farzad Abdolhosseini, Mohammad Rastegari
AuthorsChristophe Van Gysel, Mirko Hannemann, Ernest Pusateri, Youssef Oualil, Ilya Oparin
AuthorsPaul Upchurch* and Ransen Niu*
AuthorsBobby Yan*, Skyler Seto*, Nicholas Apostoloff
In collaboration with The University of British Columbia
AuthorsWei Jiang, Kwang Moo Yi, Golnoosh Samei, Oncel Tuzel, Anurag Ranjan
AuthorsVineet Garg*, Ognjen (Oggi) Rudovic*, Pranay Dighe*, Ahmed H. Abdelaziz, Erik Marchi, Saurabh Adya, Chandra Dhir, Ahmed Tewfik
AuthorsTuomo Raitio, Petko Petkov, Jiangchuan Li, Muhammed Shifas, Andrea Davis, Yannis Stylianou
AuthorsSwetava Ganguli, C. V. Krishnakumar Iyer, Vipul Pandey
AuthorsSrivas Chennu*, Andrew Maher*, Jamie Martin*, Subash Prabhanantham*
AuthorsGriffin Dietz, Jennifer King Chen, Jazbo Beason, Matthew Tarrow, Adriana Hilliard, and R. Benjamin Shapiro
AuthorsChen Huang, Walter Talbott, Navdeep Jaitly, Josh Susskind
AuthorsZhucheng Tu, Janani Padmanabhan
In collaboration with Stanford University
AuthorsHilal Asi*, Vitaly Feldman*, Kunal Talwar*
AuthorsShuangfei Zhai, Navdeep Jaitly, Tatiana Likhomanenko, Jason Ramapuram, Dan Busbridge, Walter Talbott, Chen Huang, Hanlin Goh, Joseph Yitan Cheng, Josh Susskind
In collaboration with University of California, Berkeley
AuthorsVitaly Feldman*, Jelani Nelson*, Huy Nguyen*, Kunal Talwar*
AuthorsXavier Suau, Luca Zappella, Nicholas Apostoloff
In collaboration with University of California, San Diego
AuthorsJen-Hao Rick Chang, Ashish Shrivastava, Hema Swetha Koppula, Xiaoshuai Zhang, Oncel Tuzel
In collaboration with Hong Kong University of Science and Technology
AuthorsJingyang Zhang, Yao Yao, Shiwei Li, Tian Fang, David McKinnon, Yanghai Tsin, Long Quan
AuthorsAnna Volokitin, Stefan Brugger, Ali Benlalah, Sebastian Martin, Brian Amberg, Michael Tschannen
In collaboration with University of Texas, Austin
AuthorsZhenpei Yang, Zhile Ren, Qi Shan, Qixing Huang
In collaboration with University of Texas, Austin
AuthorsZhenpei Yang, Zhile Ren, Miguel Angel Bautista, Zaiwei Zhang, Qi Shan, Qixing Huang
AuthorsVivek Ramanujan*, Pavan Kumar Anasosalu Vasu, Ali Farhadi, Oncel Tuzel, Hadi Pouransari*
AuthorsLiuhui Deng, Roger Hsiao, and Arnab Ghoshal
AuthorsOrion Weller, Matthias Sperber, Telmo Pires, Hendra Setiawan, Christian Gollan, Dominic Telaar, Matthias Paulik
AuthorsOggi Rudovic*, Akanksha Bindal*, Vineet Garg*, Pramod Simha*, Pranay Dighe, Sachin Kajarekar
In collaboration with Cornell Tech
AuthorsEugene Bagdasaryan, Congzheng Song, Rogier van Dalen, Matt Seigel, Ãine Cahill
AuthorsTing-Yao Hu, Mohammadreza Armandpour, Ashish Shrivastava, Jen-Hao Rick Chang, Hema Koppula, Oncel Tuzel
AuthorsJen-Hao Rick Chang, Martin Bresler, Youssouf Chherawala, Adrien Delaye, Thomas Deselaers, Ryan Dixon, Oncel Tuzel
AuthorsIhab F. Ilyas, Theodoros Rekatsinas, Vishnu Konda, Jeffrey Pound, Xiaoguang Qi, Mohamed Soliman
In collaboration with University of Konstanz
AuthorsJochen Görtler, Fred Hohman, Dominik Moritz, Kanit Wongsuphasawat, Donghao Ren, Rahul Nair, Marc Kirchner, Kayur Patel
In collaboration with Brown University
AuthorsGreyson Gerhard-Young*, Raviteja Anantha*, Srinivas Chappidi, Björn Hoffmeister
AuthorsMinsik Cho*, Keivan A. Vahid*, Saurabh Adya, Mohammad Rastegari
In collaboration with Carnegie Mellon University, University of Washington
AuthorsXuhai Xu, Jun Gong, Carolina Brum, Lilian Liang, Bongsoo Suh, Kumar Gupta, Yash Agarwal, Laurence Lindsey, Runchang Kang, Behrooz Shahsavari, Tu Nguyen, Heriberto Nieto, Scott E. Hudson, Charlie Maalouf, Seyed Mousavi, Gierad Laput
AuthorsNiketan Pansare, Jay Katukuri, Aditya Arora, Frank Cipollone, Riyaaz Shaik, Noyan Tokgozoglu and Chandru Venkataraman
In collaboration with Université de Montréal
AuthorsRuixiang Zhang, Shuangfei Zhai, Etai Littwin, Josh Susskind
AuthorsJieshan Chen, Amanda Swearngin, Jason Wu, Titus Barik, Jeffrey Nichols and Xiaoyi Zhang
AuthorsShirin Feiz, Jason Wu, Xiaoyi Zhang, Amanda Swearngin, Titus Barik, Jeffrey Nichols
AuthorsSachin Mehta, Mohammad Rastegari
AuthorsShancong Mou, Meng Cao, Zhendong Hong, Ping Huang, Jiulong Shan, Jianjun Shi
AuthorsKunal Talwar
AuthorsWentao Zhang, Yexin Wang, Zhenbang You, Meng Cao, Ping Huang, Jiulong Shan , Zhi Yang, Bin Cui
AuthorsJiawen Zhang, Abhijit Mishra, Avinesh P.V.S, Siddharth Patwardhan, Sachin Agarwal
AuthorsColin Lea, Zifang Huang, Dhruv Jain, Lauren Tooley, Zeinab Liaghat, Shrinath Thelapurath, Leah Findlater, Jeffrey P. Bigham
AuthorsTuomo Raitio, Jiangchuan Li, Shreyas Seshadri
In collaboration with Stanford University
AuthorsHilal Asi, John Duchi, Omid Javidbakht
In collaboration with University of Toronto
AuthorsHugues Thomas, Matthieu Gallet de Saint Aurin, Jian Zhang, Timothy D. Barfoot
AuthorsShiwen Zhao, Charles Crissman, Guillermo R Sapiro
AuthorsPengsheng Guo, Miguel Angel Bautista, Alex Colburn, Liang Yang, Daniel Ulbricht, Joshua M. Susskind, Qi Shan
AuthorsMatthias Paulik, Matt Seigel, Henry Mason, Dominic Telaar, Joris Kluivers, Rogier van Dalen, Chi Wai Lau, Luke Carlson, Filip Granqvist, Chris Vandevelde, Sudeep Agarwal, Julien Freudiger, Andrew Byde, Abhishek Bhowmick, Gaurav Kapoor, Si Beaumont, Ãine Cahill, Dominic Hughes, Omid Javidbakht, Fei Dong, Rehan Rishi, Stanley Hung
AuthorsMatt McVicar, Bruno Di Giorgi, Baris Dundar, Matthias Mauch
AuthorsWoojay Jeon
AuthorsHuiting Liu, Avinesh P.V.S, Siddharth Patwardhan, Peter Grasch, Sachin Agarwal
AuthorsQian Wang, Daniel Kurz
AuthorsAparna R. Joshi, Xavier Suau, Nivedha Sivakumar, Luca Zappella, Nicholas Apostoloff
In collaboration with New York University
AuthorsMark Goldstein, Jörn-Henrik Jacobsen, Olina Chau, Adriel Saporta, Aahlad Puli, Rajesh Ranganath, Andrew C. Miller
AuthorsNitish Srivastava, Walter Talbott, Martin Bertran Lopez, Shuangfei Zhai, Josh Susskind
AuthorsArno Blaas, Xavier Suau Cuadros, Jason Ramapuram, Luca Zappella, Nicholas Apostoloff
AuthorsHaoping Bai, Meng Cao, Ping Huang, Jiulong Shan
AuthorsHaoping Bai, Meng Cao, Ping Huang, Jiulong Shan
In collaboration with Carnegie Mellon University
AuthorsMosam Dabhi, Chaoyang Wang, Kunal Saluja, Laszlo A. Jeni, Ian Fasel, Simon Lucey
AuthorsGilad Baruch, Zhuoyuan Chen, Afshin Dehghan, Tal Dimry, Yuri Feigin, Peter Fu, Thomas Gebauer, Brandon Joffe, Daniel Kurz, Arik Schwartz, Elad Shulman
AuthorsTom George Grigg*, Dan Busbridge*, Jason Ramapuram, Russ Webb
AuthorsBorja RodrÃguez-Gálvez, Filip Granqvist, Rogier van Dalen, Matt Seigel
AuthorsVitaly Feldman, Tijana Zrnic
AuthorsPrasad Gabbur, Manjot Bilkhu, Javier Movellan
AuthorsWentao Zhang, Yexin Wang, Zhenbang You, Meng Cao, Ping Huang, Jiulong Shan, Zhi Yang, Bin Cui
AuthorsJason Ramapuram*, Dan Busbridge*, Xavier Suau, Russ Webb
AuthorsSean Jewell, Joseph Futoma, Lauren Hannah, Andrew C. Miller, Nicholas J. Foti, Emily B. Fox
In collaboration with University of Cambridge
AuthorsYixuan Su, David Vandyke, Sihui Wang, Yimai Fang, Nigel Collier
AuthorsWinston Chou
AuthorsLilian de Greef, Dominik Moritz, Cynthia Bennett
AuthorsAndrew C. Miller, Nicholas J. Foti, Emily B. Fox
In collaboration with Stanford University
AuthorsMaya Varma, Laurel Orr, Sen Wu, Megan Leszczynski, Xiao Ling and Christopher Ré
AuthorsJason Ramapuram*, Dan Busbridge*, Russ Webb
AuthorsElvis Nunez*, Maxwell Horton*, Anurag Ranjan, Anish Prabhu, Ali Farhadi, Mohammad Rastegari
AuthorsAlkesh Patel, Joel Ruben Antony Moniz, Roman Nguyen, Nicholas Tzou, Hadas Kotek, Vincent Renkens
AuthorsSivanand Achanta, Albert Antony, Ladan Golipour, Jiangchuan Li, Tuomo Raitio, Ramya Rasipuram, Francesco Rossi, Jennifer Shi, Jaimin Upadhyay, David Winarsky, Hepeng Zhang
AuthorsShayne Longpre, Kartik Perisetla, Anthony Chen, Nikhil Ramesh, Chris DuBois, Sameer Singh
AuthorsXavier Suau, Luca Zappella, Nicholas Apostoloff
AuthorsDonghoon Lee, Onur C. Hamsici, Steven Feng, Prachee Sharma, Thorsten Gernoth
AuthorsSahas Dendukuri, Pooja Chitkara, Joel Ruben Antony Moniz, Xiao Yang, Manos Tsagkias, Stephen Pulman
AuthorsXuerong Xiao, Swetava Ganguli, Vipul Pandey
AuthorsTakuya Higuchi, Anmol Gupta, Chandra Dhir
AuthorsJason Wu, Xiaoyi Zhang, Jeff Nichols, Jeffrey P. Bigham
In collaboration with University of Toronto
AuthorsHugues Thomas, Ben Agro, Mona Gridseth, Jian Zhang, Timothy D. Barfoot
In collaboration with Duke University, Harvard University
AuthorsHsiang Hsu, Natalia Lucienne Martinezgil, Martin Bertran, Guillermo Sapiro, Flavio Calmon
AuthorsJavier Latorre, Charlotte Bailleul, Tuuli Morrill, Alistair Conkie, Yannis Stylianou
AuthorsAhmed Hussen Abdelaziz*, Anushree Prasanna Kumar*, Chloe Seivwright, Gabriele Fanelli, Justin Binder, Yannis Stylianou, Sachin Kajarekar
AuthorsHoang Long Nguyen, Vincent Renkens, Joris Pelemans, Srividya Pranavi Potharaju, Anil Kumar Nalamalapu, Murat Akbacak
AuthorsDeepak Muralidharan*, Joel Ruben Antony Moniz*, Weicheng Zhang, Stephen Pulman, Lin Li, Megan Barnes, Jingjing Pan, Jason Williams, Alex Acero
AuthorsLaurel Orr, Atindriyo Sanyal, Xiao Ling, Karan Goel, Megan Leszczynski
AuthorsSrivas Chennu, Jamie Martin, Puli Liyanagama, Phil Mohr
AuthorsAgni Kumar, Vikramjit Mitra, Carolyn Oliver, Adeeti Ullal, Matt Biddulph, Irida Mance
AuthorsRoger Hsiao, Dogan Can, Tim Ng, Ruchir Travadi, Arnab Ghoshal
AuthorsJoseph Y. Cheng, Hanlin Goh, Kaan Dogrusoz, Oncel Tuzel, Erdrin Azemi
AuthorsMike Roberts, Jason Ramapuram, Anurag Ranjan, Atulit Kumar, Miguel Angel Bautista, Nathan Paczan, Russ Webb, Joshua M. Susskind
AuthorsAndrew C. Miller, Leon A. Gatys, Joseph Futoma, Emily B. Fox
In collaboration with Technical University of Munich
AuthorsYawar Siddiqui, Justus Thies, Fangchang Ma, Qi Shan, Matthias NieÃner, Angela Dai
AuthorsMona Zehni, Shaona Ghosh, Krishna Sridhar, Sethu Raman
In collaboration with Boston University, Harvard University, Institute for Employment Research, University of Maryland, University of Pennsylvania
AuthorsJoerg Drechsler, Ira Globus-Harris, Audra McMillan, Jayshree Sarathy, Adam Smith
AuthorsTerrance DeVries, Miguel Angel Bautista, Nitish Srivastava, Graham W. Taylor, Joshua M. Susskind
AuthorsC. V. Krishnakumar Iyer, Feili Hou, Henry Wang, Yonghong Wang, Kay Oh, Swetava Ganguli, Vipul Pandey
AuthorsVitaly Feldman, Audra McMillan, Kunal Talwar
In collaboration with Boston University
AuthorsGavin R Brown, Mark Bun, Vitaly Feldman, Adam Smith, Kunal Talwar
AuthorsEtai Littwin, Omid Saremi, Shuangfei Zhai, Vimal Thilak, Hanlin Goh, Joshua M. Susskind, Greg Yang
AuthorsMandana Saebi, Ernie Pusateri, Aaksha Meghawat, Christophe Van Gysel
AuthorsVikramjit Mitra, Zifang Huang, Colin Lea, Lauren Tooley, Panayiotis Georgiou, Sachin Kajarekar, Jefferey Bigham
AuthorsShih-Yu Sun, Vimal Thilak, Etai Littwin, Omid Saremi, Joshua M. Susskind
AuthorsMitchell Wortsman, Maxwell Horton, Carlos Guestrin, Ali Farhadi, Mohammad Rastegari
AuthorsVitaly Feldman, Kunal Talwar
AuthorsHilal Asi, John Duchi, Alireza Fallah, Omid Javidbakht, Kunal Talwar
AuthorsHilal Asi, Vitaly Feldman, Tomer Koren, Kunal Talwar
AuthorsVineet Garg, Wonil Chang, Siddharth Sigtia, Saurabh Adya, Pramod Simha, Pranay Dighe, Chandra Dhir
AuthorsEtai Littwin, Greg Yang
AuthorsYue Wu, Shuangfei Zhai, Nitish Srivastava, Josh Susskind, Jian Zhang, Ruslan Salakhutdinov, Hanlin Goh
AuthorsManuel Sarmiento Calderó, David Varas, Elisenda Bou-Balust
In collaboration with Stanford University
AuthorsLaurel Orr, Megan Leszczynski, Simran Arora, Sen Wu, Neel Guha, Xiao Ling, and Christopher Ré
AuthorsPavan Kumar Anasosalu Vasu, Shreyas Saxena, Oncel Tuzel
In collaboration with Boston University
AuthorsNataniel Ruiz Gutierrez, Barry Theobald, Anurag Ranjan, Ahmed Hussen Abdelaziz, Nick Apostoloff
In collaboration with University of California, Irvine
AuthorsAnthony Chen, Pallavi Gudipati, Shayne Longpre, Xiao Ling, Sameer Singh
AuthorsGowri Somanath, Daniel Kurz
AuthorsHadi Pouransari, Mojan Javaheripi, Vinay Sharma, Oncel Tuzel
AuthorsChen Huang, Shuangfei Zhai, Pengsheng Guo, Josh Susskind
AuthorsZakaria Aldeneh, Anushree Prasanna Kumar, Barry-John Theobald, Erik Marchi, Sachin Kajarekar, Devang Naik, Ahmed Hussen Abdelaziz
AuthorsShuangfei Zhai, Walter Talbott, Nitish Srivastava, Chen Huang, Hanlin Goh, Ruixiang Zhang, Josh Susskind
AuthorsBo-Hsiang Tseng, Shruti Bhargava, Jiarui Lu, Joel Ruben Antony Moniz, Dhivya Piraviperumal, Lin Li, Hong Yu
AuthorsTakuya Higuchi, Shreyas Saxena, Mehrez Souden, Tien Dung Tran, Masood Delfarah, Chandra Dhir
AuthorsSashank Gondala, Lyan Verwimp, Ernest Pusateri, Manos Tsagkias, Christophe Van Gysel
AuthorsPranay Dighe, Erik Marchi, Srikanth Vishnubhotla, Sachin Kajarekar, Devang Naik
AuthorsAndrew Silva, Barry-John Theobald, Nicholas Apostoloff
AuthorsDeepak Muralidharan*, Joel Ruben Antony Moniz*, Sida Gao*, Xiao Yang*, Justine Kao, Stephen Pulman, Atish Kothari, Ray Shen, Yinying Pan, Vivek Kaul, Mubarak Seyed Ibrahim, Gang Xiang, Nan Dun, Yidan Zhou, Andy O, Yuan Zhang, Pooja Chitkara, Xuan Wang, Alkesh Patel, Kushal Tayal, Roger Zheng, Peter Grasch, Jason D. Williams, Lin Li
AuthorsShayne Longpre, Yi Lu, Christopher DuBois
AuthorsRaviteja Anantha*, Svitlana Vakulenko*, Zhucheng Tu, Shayne Longpre, Stephen Pulman, Srinivas Chappidi
AuthorsAshish Shrivastava, Arnav Kundu, Chandra Dhir, Devang Naik, Oncel Tuzel
AuthorsSiddharth Sigtia, John Bridle, Hywel Richards, Pascal Clark, Erik Marchi, Vineet Garg
AuthorsTing-Yao Hu, Ashish Shrivastava, Jen-Hao Rick Chang, Hema Koppula, Stefan Braun, Kyuyeon Hwang, Ozlem Kalinli, Oncel Tuzel
In collaboration with Tsinghua University, University of Science and Technology Beijing
AuthorsXi Li, Meng Cao, Yingying Tang, Scott Johnston, Zhendong Hong, Huimin Ma, Jiulong Shan
AuthorsJason Wu, Gabriel Reyes, Sam C. White, Xiaoyi Zhang, Jeffrey P. Bigham
AuthorsOrion Weller, Matthias Sperber, Christian Gollan, Joris Kluivers
AuthorsAlberto Purpura, Karolina Buchner, Gianmaria Silvello, Gian Antonio Susto
AuthorsAlkesh Patel, Akanksha Bindal, Hadas Kotek, Christopher Klein, Jason Williams
In collaboration with University of Amsterdam
AuthorsSvitlana Vakulenko, Nikos Voskarides, Zhucheng Tu, Shayne Longpre
AuthorsXiaoyi Zhang, Lilian de Greef, Amanda Swearngin, Samuel White, Kyle Murray, Lisa Yu, Qi Shan, Jeffrey Nichols, Jason Wu, Chris Fleizach, Aaron Everitt, Jeffrey P. Bigham
AuthorsShuangfei Zhai, Walter Talbott, Miguel Angel Bautista, Carlos Guestrin, Josh M. Susskind
AuthorsColin Lea, Vikramjit Mitra, Aparna Joshi, Sachin Kajarekar, Jeffrey Bigham
AuthorsSvitlana Vakulenko, Shayne Longpre, Zhucheng Tu, Raviteja Anantha
In collaboration with University of Amsterdam
AuthorsSvitlana Vakulenko, Nikos Voskarides, Zhucheng Tu, Shayne Longpre
AuthorsNidhi Vyas, Shreyas Saxena, Thomas Voice
AuthorsQiong Hu, Tobias Bleisch, Petko Petkov, Tuomo Raitio, Erik Marchi, Varun Lakshminarasimhan
AuthorsXinwei Li, Yuanyuan Zhang, Xiaodan Zhuang, Daben Liu
AuthorsArwen Bradley, Jason Klivington, Joseph Triscari, Rudolph van der Merwe
AuthorsMiguel Angel Bautista, Walter Talbott, Shuangfei Zhai, Nitish Srivastava, Joshua M. Susskind
AuthorsDavid Q. Sun, Hadas Kotek, Christopher Klein, Mayank Gupta, William Li, Jason D. Williams
AuthorsVitaly Feldman, Chiyuan Zhang
AuthorsEtai Littwin, Ben Myara, Sima Sabah, Joshua Susskind, Shuangfei Zhai, Oren Golan
AuthorsArun Ganesh, Kunal Talwar
AuthorsKunal Talwar
AuthorsJeffrey Chan, Andrew C. Miller, Emily B. Fox
AuthorsRaef Bassily, Vitaly Feldman, Criztobal Guzman, Kunal Talwar
AuthorsNaman Agarwal, Rohan Anil, Tomer Koren, Kunal Talwar, Cyril Zhang
AuthorsSvitlana Vakulenko, Shayne Longpre, Zhucheng Tu, Raviteja Anantha
AuthorsJianpeng Cheng, Devang Agrawal, Hector Martinez Alonso, Shruti Bhargava, Joris Driesen Federico Flego, Dain Kaplan, Dimitri Kartsaklis, Lin Li, Dhivya Piraviperumal, Jason D Williams, Hong Yu, Diarmuid O Seaghdha, Anders Johannsen
AuthorsYi-Te Hsu, Sarthak Garg, Yi-Hsiu Liao, Ilya Chatsviorkin
AuthorsShayne Longpre, Yu Wang, Christopher DuBois
In collaboration with Stanford University
AuthorsXuerong Xiao, Swetava Ganguli, Vipul Pandey
AuthorsJaylin Herskovitz, Jason Wu, Sam White, Amy Pavel, Anhong Guo, Gabriel Reyes, Jeffrey Bigham
In collaboration with Carnegie Mellon University, Georgia Institute of Technology
AuthorsMary Beth Kery, Donghao Ren, Fred Hohman, Dominik Moritz, Kanit Wongsuphasawat, Kayur Patel
AuthorsAmy Pavel, Gabriel Reyes, Jeffrey Bigham
AuthorsRongqing Huang, Ossama Abdel-hamid, Xinwei Li, Gunnar Evermann
AuthorsRishika Agarwal, Xiaochuan Niu, Pranay Dighe, Srikanth Vishnubhotla, Sameer Badaskar, Devang Naik
AuthorsTuomo Raitio, Ramya Rasipuram, Dan Castellani
AuthorsSaurabh Adya, Vineet Garg, Siddharth Sigtia, Pramod Simha, Chandra Dhir
AuthorsFilip Granqvist, Matt Seigel, Rogier van Dalen, Ãine Cahill, Stephen Shum, Matthias Paulik
AuthorsTakuya Higuchi, Mohammad Ghasemzadeh, Kisun You, Chandra Dhir
AuthorsBruno Di Giorgi, Matthias Mauch, Mark Levy
AuthorsAhmed Hussen Abdelaziz, Barry-John Theobald, Paul Dixon, Reinhard Knothe, Nicholas Apostoloff, Sachin Kajareker
AuthorsSerguei Kalentchouk, Michael Hutchinson, Deepak Tolani
AuthorsAndrew C. Miller, Nicholas J. Foti, Emily Fox
AuthorsSarmad Malik, Jason Wung, Joshua Atkins, Devang Naik
AuthorsShayne Longpre, Yi Lu, Joachim Daiber
In collaboration with University of Applied Sciences, Western Switzerland, University of Geneva
AuthorsJason Ramapuram, Russ Webb
AuthorsTyler B. Johnson, Pulkit Agrawal, Haijie Gu, Carlos Guestrin
AuthorsBo-Hsiang Tseng, Jianpeng Cheng, Yimai Fang, David Vandyke
AuthorsEmilien Dupont, Miguel Angel Bautista, Alex Colburn, Aditya Sankar, Carlos Guestrin, Josh Susskind, Qi Shan
AuthorsPengsheng Guo, Chen-Yu Lee, Daniel Ulbricht
AuthorsHendra Setiawan, Matthias Sperber, Udhay Nallasamy, Matthias Paulik
AuthorsChristophe Van Gysel, Manos Tsagkias, Ernest Pusateri, Ilya Oparin
AuthorsJason Wung, Ante JukiÄ, Sarmad Malik, Mehrez Souden, Ramin Pichevar, Joshua Atkins, Devang Naik, Alex Acero
AuthorsAlistair Conkie, Andrew Finch
AuthorsRaviteja Anantha, Stephen Pulman, Srinivas Chappidi
AuthorsRaviteja Anantha, Srinivas Chappidi, Arash William Dawoodi
AuthorsVasudha Kowtha, Vikramjit Mitra, Chris Bartels, Erik Marchi, Sue Booker, William Caruso, Sachin Kajarekar, Devang Naik
AuthorsPranay Dighe, Saurabh Adya, Nuoyu Li, Srikanth Vishnubhotla, Devang Naik, Adithya Sagar, Ying Ma, Stephen Pulman, Jason D. Williams
In collaboration with Carnegie Mellon University
AuthorsJason Wu, Chris Harrison, Jeffrey P. Bigham, Gierad Laput
In collaboration with University of Washington
AuthorsTongshuang Wu, Kanit Wongsuphasawat, Donghao Ren, Kayur Patel, Chris DuBois
In collaboration with Carnegie Mellon University, Georgia Institute of Technology
AuthorsFred Hohman, Kanit Wongsuphasawat, Mary Beth Kery, Kayur Patel
AuthorsSiddharth Sigtia, Pascal Clark, Rob Haynes, Hywel Richards, John Bridle
AuthorsMatthias Sperber, Matthias Paulik
AuthorsYoussouf Chherawala, Hans J. G. A. Dolfing, Ryan S. Dixon, Jerome R. Bellegarda
In collaboration with City University of New York
AuthorsSoumi Maiti, Erik Marchi, Alistair Conkie
AuthorsAkash Mehra, Jerome R. Bellegarda, Ojas Bapat, Partha Lal, Xin Wang
AuthorsHadi Pouransari, Zhucheng Tu, Oncel Tuzel
In collaboration with Carnegie Mellon University
AuthorsTing-Yao Hu, Ashish Shrivastava, Oncel Tuzel, Chandra Dhir
AuthorsZhen Huang, Tim Ng, Leo Liu, Henry Mason, Xiaodan Zhuang, Daben Liu
AuthorsWoojay Jeon, Maxwell Jordan, Mahesh Krishnamoorthy
In collaboration with Carnegie Mellon University
AuthorsYao-Hung Hubert Tsai, Nitish Srivastava, Hanlin Goh, Ruslan Salakhutdinov
In collaboration with Johns Hopkins University
AuthorsAndrew Titus, Jan Silovsky, Nanxin Chen, Roger Hsiao, Mary Young, Arnab Ghoshal
AuthorsSiddharth Sigtia, Erik Marchi, Sachin Kajarekar, Devang Naik, John Bridle
In collaboration with University of California, Berkeley
AuthorsVipul Gupta, Santiago Akle Serrano, Dennis DeCoste
AuthorsShuangfei Zhai, Walter Talbott, Carlos Guestrin, Joshua M. Susskind
In collaboration with Stanford University
AuthorsMitchell L. Gordon, Leon Gatys, Carlos Guestrin, Jeffrey P. Bigham, Andrew Trister, Kayur Patel
AuthorsXavier Suau, Luca Zappella, Nicholas Apostoloff
AuthorsYichuan Charlie Tang, Ruslan Salakhutdinov
AuthorsShayne Longpre, Yi Lu, Zhucheng Tu, Chris DuBois
AuthorsShreyas Saxena, Oncel Tuzel, Dennis DeCoste
AuthorsSaurabh Adya, Vinay Palakkode, Oncel Tuzel
In collaboration with University of Tubingen
AuthorsJonas Rauber, Emily B. Fox, Leon A. Gatys
AuthorsYichuan Charlie Tang, Jian Zhang, Ruslan Salakhutdinov
In collaboration with Carnegie Mellon University
AuthorsXiangkai Zeng, Sarthak Garg, Rajen Chatterjee, Udhyakumar Nallasamy, Matthias Paulik
In collaboration with Canadian Institute for Advanced Research, University of Guelph, Vector Institute for Artificial Intelligence
AuthorsAlaaeldin El-Nouby, Shuangfei Zhai, Graham W. Taylor, Joshua M. Susskind
AuthorsYu Wang
AuthorsChristopher Ré, Feng Niu, Pallavi Gudipati, Charles Srisuwananukorn
AuthorsDeepak Muralidharan, Justine Kao, Xiao Yang, Lin Li, Lavanya Viswanathan, Mubarak Seyed Ibrahim, Kevin Luikens, Stephen Pulman, Ashish Garg, Atish Kothari, Jason Williams
In collaboration with KU Leuven
AuthorsLyan Verwimp, Jerome R. Bellegarda
In collaboration with Geneva School of Business Administration, HES-SO, University of Geneva
AuthorsJason Ramapuram, Maurits Diephuis, Frantzeska Lavda, Russ Webb, Alexandros Kalousis
AuthorsSarthak Garg, Stephan Peitz, Udhyakumar Nallasamy, Matthias Paulik
AuthorsErnest Pusateri, Christophe Van Gysel, Rami Botros, Sameer Badaskar, Mirko Hannemann, Youssef Oualil, Ilya Oparin
AuthorsXi C. Chen, Adithya Sagar, Justine T. Kao, Tony Y. Li, Christopher Klein, Stephen Pulman, Ashish Garg, Jason D. Williams
AuthorsJian Yao, Ahmad Al-Dahle
In collaboration with Eli Lilly and Company, Evidation Health
AuthorsRichard Chen, Filip Jankovic, Nikki Marinsek, Luca Foschini, Lampros Kourtis, Alessio Signorini, Melissa Pugh, Jie Shen, Roy Yaari, Vera Maljkovic, Marc Sunga, Han Hee Song, Hyun Joon Jung, Belle Tseng, Andrew Trister
AuthorsShiwen Zhao, Brandt Westing, Shawn Scully, Heri Nieto, Roman Holenstein, Minwoo Jeong, Krishna Sridhar, Brandon Newendorp, Mike Bastian, Sethu Raman, Tim Paek, Kevin Lynch and Carlos Guestrin
AuthorsInput & Intelligence â Natural Language Processing Team
AuthorsAshish Shrivastava, Oncel Tuzel
In collaboration with Sentropy Technologies
AuthorsBoya Peng, Yejin Huh, Xiao Ling, Michele Banko
In collaboration with Stanford University
AuthorsAbhishek Bhowmick, John Duchi, Julien Freudiger, Gaurav Kapoor, Ryan Rogers
AuthorsPulkit Agrawal, Rajat Arya, Aanchal Bindal, Sandeep Bhatia, Anupriya Gagneja, Joseph Godlewski, Yucheng Low, Timothy Muss, Mudit Manu Paliwal, Sethu Raman, Vishrut Shah, Bochao Shen, Laura Sugden, Kaiyu Zhao, Ming-Chuan Wu
AuthorsAhmed Hussen Abdelaziz, Barry-John Theobald, Justin Binder, Gabriele Fanelli, Paul Dixon, Nicholas Apostoloff, Thibaut Weise, Sachin Kajareker
AuthorsChen Huang, Shuangfei Zhai, Walter Talbott, Miguel Angel Bautista, Shih-Yu Sun, Carlos Guestrin, Joshua M. Susskind
In collaboration with Stanford University
AuthorsJohn Duchi, Ryan Rogers
In collaboration with Georgia Institute of Technology
AuthorsZhen Huang, Xiaodan Zhuang, Daben Liu, Xiaoqiang Xiao, Yuchen Zhang, Sabato Marco Siniscalchi
In collaboration with McGill University, Tencent AI Lab
AuthorsOzlem Kalinli, Gautam Bhattacharya, Chao Weng
AuthorsWoojay Jeon, Leo Liu, Henry Mason
AuthorsXizi Wei, Melvyn Hunt, Adrian Skilling
AuthorsKatherine Metcalf, Barry-John Theobald, Garrett Weinberg, Robert Lee, Ing-Marie Jonsson, Russ Webb, Nicholas Apostoloff
AuthorsChristos Chrysafis, Ben Collins, Scott Dugas, Jay Dunkelberger, Moussa Ehsan, Scott Gray, Alec Grieser, Ori Herrnstadt, Kfir Lev-Ari, Tao Lin, Mike McMahon, Nicholas Schiefer, Alexander Shraer
AuthorsVikramjit Mitra, Sue Booker, Erik Marchi, David Scott Farrar, Ute Dorothea Peitz, Bridget Cheng, Ermine Teves, Anuj Mehta, Devang Naik
AuthorsGautam Mantena, Ozlem Kalinli, Ossama Abdel-Hamid, Don McAllaster
AuthorsChen-Yu Lee, Tanmay Batra, Mohammad Haris Baig, Daniel Ulbricht
AuthorsYichuan Charlie Tang
AuthorsAudio Software Engineering and Siri Speech Team
AuthorsFrameworks Natural Language Processing Team
In collaboration with University of Applied Sciences, Western Switzerland, University of Geneva
AuthorsJason Ramapuram, Russ Webb
AuthorsSiri Speech Recognition Team
AuthorsSiri Team
In collaboration with Carnegie Mellon University
AuthorsMario Srouji, Jian Zhang, Ruslan Salakhutdinov
AuthorsDifferential Privacy Team
AuthorsComputer Vision Machine Learning Team
AuthorsSiri Team
AuthorsHandwriting Recognition Team
AuthorsSiri Team
AuthorsSiri Team
AuthorsSiri Team
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https://www.webster.edu/music/faculty/index.php
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Department of Music Faculty
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Webster University's Department of Music faculty are artists, teachers, and performers who bring real-world experience to classes, ensembles, lessons, and rehearsals.
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Webster University
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https://www.webster.edu/music/faculty/index.php
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Bob Chamberlin
Emeritus Professor of Music Theory and Composition
A member of the Webster University faculty since 1973, he has also served as the director of academic advising, director of the London campus, and as acting dean of students. In 1974 he coordinated a festival of microtonal music, held at Webster University. Chamberlin earned degrees in theory and composition from St. Olaf College and Southern Illinois University at Carbondale, and completed additional studies at the University of Illinois at Urbana-Champaign. His principal composition instructors include Arthur Campbell, W. Alan Oldfield, Ben Johnston and Salvatore Martirano.
Chamberlin taught undergraduate and graduate courses in composition and music theory. He was the senior faculty member in the department. Chamberlin retired in May 2016.
His compositions include works for orchestra, wind ensemble, chamber ensembles, organ, chorus, dance, and incidental music for theatrical productions. He has received commissions from the Webster University Symphony Orchestra, Repertory Theatre of St. Louis, Mid America Dance Company, Tapsichore, Metro Theatre Company and the Band of Mid-America at Scott Air Force Base. In 1991, he was awarded a Creative Artists Project Grant from the Missouri Arts Council. Chamberlin has collaborated with artists including the University of Illinois Contemporary Chamber Players, Jerry Young, John McClellan, Jaroslav Vajda, Peter Mayer and Charles Glenn. His compositions have been performed throughout the United States and Canada, as well as in the Netherlands and Poland.
An active member of the American Guild of Organists, he is organist for Gethsemane Lutheran Church.
Paul DeMarinis
Emeritus Professor of Jazz Studies
Paul DeMarinis is a native of St. Louis. His early musical training included private study as a clarinetist with St. Louis Symphony members Carlos Camancho, Robert Coleman and Leland Munger. He then attended Indiana University and studied jazz improvisation extensively with the well-known jazz education pioneer David Baker while playing lead alto saxophone in the IU big band. During this time he also studied improvisation with famed saxophonist/educator Jamey Aebersold. He received his bachelor's and master's degrees in Jazz Studies from Webster University in 1982 and 1987.
He began teaching as an adjunct faculty member at Webster in 1980. By 1988, he was the full-time director of the Jazz Studies program. At Webster, he taught saxophone, jazz improvisation and jazz history, oversaw the ensemble and academic jazz program, coordinated the faculty jazz ensemble, and directed the Webster Jazz Series and the Webster Summer Jazz Camp.
He is a well-known performer, educator and clinician and has been active in the St. Louis jazz scene for over 35 years. He was co-founder of the original music cooperative Brilliant Corners which recorded for the MAX JAZZ label in 1997, and has written extensively for his own trio, quartet and sextet. A CD of his original jazz compositions, The Sun ... The Stars featuring his sextet and vocalist Debby Lennon, was released in 2009. He enjoys long-term musical relationships with the Kim Portnoy Jazz Orchestra and the St. Louis Jazz Orchestra and was a faculty member of Jamey Aebersold's Summer Jazz Workshops for 10 years. He has also been a faculty member of the International Summer Jazz Academy in Poland.
DeMarinis has a long association as a saxophonist with the St. Louis Symphony. In addition to many performances at Powell Hall, he has performed with the SLSO overseas and at New York's Carnegie Hall. He has performed with many jazz notables, including Count Basie Orchestra, Dave Liebman, Louie Bellson, Gary Foster and Bobby Shew. In a supportive role he has been a member of ensembles accompanying a wide range of popular artists including Tony Bennett, Aretha Franklin, Ray Charles, Nancy Wilson, Doc Severinsen, Johnny Mathis, Sammy Davis Jr., Gladys Knight, The Temptations and The Four Tops.
Listen to "Hope" from the 2009 CD release The Sun … The Stars (words and music by Paul DeMarinis).
Carole Gaspar
Emerita Professor of Voice
Professor Carole Gaspar is a graduate of Baylor University and Washington University. Her principal teachers were Leslie Chabay and Jennie Tourel.
Throughout her career, she has won many awards including the G.B. Dealy competition, the Irene Jordan scholarship, the Shreveport Symphony Orchestra competition, the Southwest and Midwest Regional Metropolitan Opera auditions, the St. Louis Artist Presentation award, the St. Louis Philharmonic competition, and the National Society of Arts and Letters award in Chicago. Following six months of study at the International Opera Studio in Zurich, Switzerland, she performed with the Essen (Germany) Opera Company, making her professional debut as Marcellina in Fidelio. Since joining the Webster faculty in 1975, Gaspar has earned seven diplomas from conservatories in Salzburg, Nice and Geneva for studies in the poetry and music of the German lied and the French melodie. Her teachers have included Erik Werba, Kim Borg, Dalton Baldwin and Gerard Souzay.
Gaspar has given numerous, highly acclaimed concerts in the St. Louis area and frequently collaborates with composers in premiering new works for solo voice. With a broad repertoire of 19th and 20th century songs, she has made an intensive study of the works of Brahms, Schoenberg, and other Viennese composers. She collaborated with Allen Carl Larson in many performances of works for voice and orchestra, and enjoyed an extensive career as a recitalist with pianist Daniel Schene.
In 1990, she founded the Institute for Advanced Vocal Studies in Paris, a summer program for professional level singers and pianists dedicated to studies of French vocal chamber music. In the fall of 2002, she organized a week-long workshop devoted to French vocal literature and the writings of Victor Hugo, bringing an international faculty of specialists to St. Louis.
Allen Carl Larson
Emeritus Conductor of the Webster University Symphony Orchestra and Professor Emeritus of Music
Larson received his undergraduate degree at Park University in Kansas City, with his masters and doctoral degrees from Indiana University. His doctoral mentor was the renowned Bach scholar and score studies expert, Julius Herford.
Larson has held posts with the St. Joseph Symphony, the St. Joseph Youth Symphony and Nova Choralis, the Indiana University Choral Union and Chamber Singers, the Northland Symphony, and the Saint Louis Chamber Chorus. Larson for nine years was director of the choir at the First Unitarian Church of St. Louis. As a guest conductor, he has led performances with the St. Louis Symphony, the Webster Chamber Winds, the St. Louis Symphony chamber Ensemble, the Washington University Wind Ensemble and the Kansas City (KS) Civic Symphony. He has conducted performances with the Webster Opera Studio and Sargent Conservatory of Theatre Arts of The Magic Flute, Dido and Aeneas, The Marriage of Figaro, Fiddler on the Roof, Brigadoon, Carousel and others.
In 1996 he conducted the world premiere of Andrew York's concerto for two classical guitars and chamber orchestra, Word, at the Sheldon Concert Hall. Larson has conducted instrumental and vocal ensemble performances for the KFUO "Live from the Garden" series. he has presented clinics and workshops for high schools, colleges, and churches, and has served as the pre-concert lecturer for the St. Louis Symphony Orchestra. Twice during his tenure at Webster, he has served as chair of the Department of Music. Larson recently founded a new chorus in Saint Louis, the Sheldon Chorale. His final concerts with the Webster Symphony Orchestra were during the 2008–2009 school year.
Daniel Schene
Emeritus Professor of Keyboard Studies
Pianist Daniel Schene has long been known as a consummate artist and a superlative teacher. Having performed throughout the U.S., Canada, South America and Asia, concert-goers have come to admire his comprehensive musicianship and formidable technique.
After his debut at age fifteen with the Charlotte Symphony, Schene studied at the North Carolina School of the Arts with Rebecca Penneys, and subsequently at the Indiana University Jacobs School of Music with Gyorgy Sebok and Enrica Cavallo-Gulli. While at the University, he received the prestigious Joseph Battista Memorial Scholarship. Thereafter, he continued his studies at the Eastman School of Music with Ms. Penneys.
As a recitalist and concerto soloist, Schene has performed at numerous venues, including the Salle Cortot and the Teatro da Paz. Since 1983, he has given annual solo recitals at the University of Missouri-Columbia and Webster University, where he is currently director of Piano Studies. He also performs regularly at Indiana University's Summer Music Festival and many other music schools throughout the U.S. Recent appearances include Louisiana State University and the University of Missouri–Kansas City.
Known for his innovative programming, Schene is currently offering a recital of the Preludes of both Bach and Chopin and has performed the Chopin op. 25 Etudes with the Liszt Transcendental Etudes, Book II. With his extensive concerto repertoire, Schene has recently performed the Chopin F minor and Liszt E-Flat Concerti, in honor of their centenaries.
A passionate enthusiast of chamber music, Schene has collaborated with many fine artists, such as renowned cellist Zara Nelsova, violinist Denes Kovacs (Director of the Liszt Academy in Budapest), and St. Louis Symphony concertmasters Jacques Israelievitch and David Halen. He has been the duo partner of violinist Eva Szekely of the Esterhazy Quartet for 39 years. From 1988 to 2004, the duo appeared at the Festival Internacional da Musica da Camera do Para in Belem, Brazil and in many other venues throughout the country, most recently in 2008 and 2015. Additionally they have toured under the auspices of the United States Information Service. The Szekely-Schene Duo has also performed in Santiago, Concepcion, Vina del Mar and La Serena, Chile and throughout the U.S. Schene has also appeared with the Arianna String Quartet and was for many years the pianist of the Trio Americas and the Webster Trio.
Devoted to the music of our time, Schene has played works of Joan Tower, Libby Larsen, James Willey, Andrew List, Roberto Escobar and David Werfelmann, and has premiered and recorded numerous compositions. In demand as a teacher, Schene is professor of Music and director of Piano Studies at Webster University in St. Louis, where he teaches piano, piano literature and piano pedagogy. He is a founding faculty member of the Indiana University Summer academy and the Institute of Advanced Vocal Studies in Paris. Additionally, he has given guest master classes in France, Brazil and Taiwan, as well Louisiana State University, the University of Missouri-Columbia and the University of Denver's Lamont School of Music, among others.
Mr. Schene records for CRI and New World Records.
“A demonstration of exquisite pianism and musicianship.”
~St. Louis Post Dispatch
“More than anything else, it was the integrity of the interpretation that made the performance so outstanding. Rarely has [Schubert] sounded so consistently meaningful”
~St. Louis Post Dispatch
“I consider Daniel Schene to be a splendid pianist, excellent ensemble player, fine teacher and one of the finest all around musicians of [his] generation.”
~Joseph Gingold
Here are three studio performances from January 2012:
Franz Liszt: "Sonetto 104 del Petrarca," from Years of Pilgrimage: Italy
Serge Rachmaninoff: Prelude in B-Flat Major, Op. 23 No. 2
Claude Debussy: "Reflets dans l'eau (Reflections in the Water)" from Images, Book I
Steve Schenkel
Emeritus Professor of Jazz Studies
A native of St. Louis, Steve Schenkel has been the "first call" guitarist in St. Louis for over 20 years. He performs regularly with the St. Louis Symphony, The Fox Theater Orchestra, The Muny Orchestra and The Repertory Theatre of St. Louis.
Steve is a graduate of Southern Illinois University-Edwardsville, Southern Illinois University-Carbondale. He received the PhD from Washington University, 1980 and the MA in Religion from Webster University. Schenkel founded the Jazz Studies program and the Jazz Concert Series at Webster University, where he has taught music, media and religion since 1980.
His music is heard nationally on the PBS program "Breaking Bread," as well as by millions of visitors each year in the multimedia show under the Gateway Arch. Schenkel has scored many PBS programs, including "KATY: Stories From the Trail," "Homefront," and "American Tower." Schenkel also wrote the theme music for the programs "In the Loop" and "StL Biz," as well as the logo music for KETC. Schenkel orchestrated the Ken Hensley CD Running Wild, and the children's musical A Modern Day Prodigal Son. He appears on the CD 1-2-3 with pianist Dave Venn, as well as collaborations with Dan Rubright, The Lone Wild Bird, What Wondrous Love and Whole New Light.
Visit Steve's personal website
Kendall Stallings
Emeritus Professor of Music Theory and Composition
Kendall Stallings holds a doctorate in musical composition and theory from Washington University in St. Louis and has been a member of the music faculty at Webster University since 1967, where he holds the rank of professor emeritus and where he has taught a wide range of graduate and undergraduate courses and has held important administrative posts. Employing vocal, instrumental, and electroacoustic media, he has composed concert, film and theatre music ranging from brief pieces for a single performer to much longer works for relatively large forces. His music has been heard in the concert hall, the theatre, on radio and television, and at music-friendly eating and drinking establishments.
Christine Brewer
Visiting Professor of Voice
Grammy® Award winning American soprano Christine Brewer's appearances in opera, concert and recital are marked with her own unique timbre, at once warm and brilliant, combined with a vibrant personality and emotional honesty reminiscent of the great sopranos of the past. Her range, golden tone, boundless power and control make her a favorite of the stage as well as a sought-after recording artist. At Webster University, Ms. Brewer teaches master classes each term and speaks annually in a popular lecture series.
On the opera stage, Brewer is highly regarded for her striking portrayal of the title role in Strauss's Ariadne auf Naxos, which she has performed with the Metropolitan Opera, Opéra de Lyon, Théâtre du Châtelet, the Santa Fe Opera, the English National Opera and the Opera Theater of St. Louis. Garnering critical acclaim with each role, Ms. Brewer has performed Wagner's Tristan und Isolde at the San Francisco Opera, Gluck's Alceste with the Santa Fe Opera, the Dyer's Wife in Strauss's Die Frau Ohne Schatten at the Lyric Opera of Chicago and the Paris Opera, and Lady Billows in Britten's Albert Herring at the Santa Fe Opera and in San Francisco. She is also celebrated for her work on lesser known operas such as the title roles in Gluck's Iphigénie en Tauride with the Edinburgh Festival, the Rio de Janeiro Opera, and Madrid Opera and Strauss's Die ägyptische Helena with the Santa Fe Opera.
A stunning recitalist, in addition to her many appearances at Carnegie and Wigmore Halls, Brewer has graced Lincoln Center's “Art of the Song” series at Alice Tully Hall. Other appearances include the Kennedy Center in Washington. D.C., Spivey Hall in Georgia, the Concertgebouw in Amsterdam and the Mondavi Center in California. Her unique voice has been featured at the Gilmore, Ravinia and Cleveland Art Song festivals.
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Shakespeare Theatre Company presents The Taming of the Shrew
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https://cms.shakespearetheatre.org/index.php/newsroom/shakespeare-theatre-company-presents-the-taming-of-the-shrew/
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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 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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Since 1964, AMDA has provided an ideal environment for performers to thrive. To realize its vision, the College and Conservatory opened its doors to the best and the brightest performing arts professionals in the world. The unrivaled access and industry insight our faculty members provide produces year after year of well-rounded, business-savvy, working professionals.
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The American Musical and Dramatic Academy/AMDA College of the Performing Arts is an EEO/AA institution and admits students of any race, color, national and ethnic origin to all the rights, privileges, programs and activities generally accorded or made available to students at the school. It does not discriminate on the basis of race, color, national and ethnic origin in administration of its educational policies, admissions policies, scholarship and loan programs, and athletic and other school administered programs. AMDA, 211 West 61st Street, NY, NY 10023 6305 Yucca, Los Angeles, CA 90028
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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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Notable First Amendment Court Cases
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Notable First Amendment court cases arranged by topical headings.
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This page contains summaries of frequently cited First Amendment cases. Arranged by topic, they cover case law issued by a variety of courts: the Supreme Court of the United States, the Court of Appeals of different Federal circuits, the District Court of several Federal districts, as well as the highest court of several states and particular appellate courts of action.
The standard citation is given to indicate where to find the complete text of a decision. For example, Kreimer v. Bureau of Police for Morristown, 958 F.2d 1241 (3d Cir. 1992), tells the names of the main parties in the case ("Kreimer" who sued the "Bureau of Police for Morristown"), the abbreviated title of the case reporter where the decision is published ("F.2d" for Federal Reporter, Second Series)-which is preceded by the particular volume number ("958") of the reporter and followed by the page number ("242") where the decision begins-and, in parentheses, the name of court that issued the decision ("3d Cir." for Circuit of Appeals for the Third Circuit) and the year ("1992"). Other conventions may apply, depending on which case reporter is involved.
Abbreviations:
U.S. = United States Reports
S.Ct. = Supreme Court Reporter
L.Ed. = United States Supreme Court Reports Lawyers' Edition
L.Ed.2d. = United States Supreme Court Reports Lawyers' Edition, Second Series
F.2d = Federal Reporter Second Series
F.3d = Federal Reporter Third Series
F.Supp. = Federal Supplement
F.Supp.2d = Federal Supplement Second Series
N.W. = North Western Reporter
N.W. = North Western Reporter, Second Series
N.Y.S. = New York Supplement
N.Y.S. = New York Supplement, Second Series
P. = Pacific Reporter
| Foundations of Free Expression: Historic Cases | The Right to Read Freely | Freedom of Expression in Schools | Minors' First Amendment Rights | Free Press | The Right to Dissent | The Right to Free Association and the Freedom of Religion | Right to Privacy and Anonymity | When Is Speech Unprotected? | The First Amendment and New Technologies | Related Court Cases | U.S. Supreme Court Links | Findlaw First Amendment Annotations Expanded |
Foundations of Free Expression: Historic Cases
Schenck v. United States, 249 U.S. 47, 39 S.Ct. 247, 63 L.Ed.2d. (1919): Justice Oliver Wendell Holmes stated in this case his famous aphorism about "falsely shouting fire in a theatre" and set forth a "clear and present danger test" to judge whether speech is protected by the First Amendment. "The question," he wrote, "is whether the words are used in such circumstances and are of such a nature as to create a clear and present danger that they will bring about the substantive evils that Congress has the right to prevent. It is a question of proximity and degree." The Supreme Court affirmed the convictions of the defendants for conspiring to violate certain federal statutes by attempting to incite subordination in the armed forces and interfere with recruitment and enlistment. During wartime, the defendants mailed to new recruits and enlisted men leaflets that compared military conscription to involuntary servitude and urged them to assert constitutional rights.
Whitney v. California, 274 U. S. 357 (1927): Since Anita Whitney did not base her defense on the First Amendment, the Supreme Court, by a 7 to 2 decision, upheld her conviction of being found guilty under the California’s 1919 Criminal Syndicalism Act for allegedly helping to establish the Communist Labor Party, a group the state argued taught the violent overthrow of government.
“The Whitney case is most noted for Justice Louis D. Brandeis’s concurrence, which many scholars have lauded as perhaps the greatest defense of freedom of speech ever written by a member of the high court.”--Basic Readings in U.S. Democracy. Below--all quotes from Justice Brandeis--are a few reasons why.
Those who won our independence believed that the final end of the State was to make men free to develop their faculties; and that in its government the deliberative forces should prevail over the arbitrary. They valued liberty both as an end and as a means. They believed liberty to be the secret of happiness and courage to be the secret of liberty. They believed that freedom to think as you will and to speak as you think are means indispensable to the discovery and spread of political truth; that without free speech and assembly discussion would be futile; that with them, discussion affords ordinarily adequate protection against the dissemination of noxious doctrine; that the greatest menace to freedom is an inert people; that public discussion is a political duty; and that this should be a fundamental principle of the American government.
Men feared witches and burnt women. It is the function of speech to free men from the bondage of irrational fears.
Those who won our independence by revolution were not cowards. They did not fear political change. They did not exalt order at the cost of liberty. To courageous, self-reliant men, with confidence in the power of free and fearless reasoning applied through the processes of popular government, no danger flowing from speech can be deemed clear and present, unless the incidence of the evil apprehended is so imminent that it may befall before there is opportunity for full discussion. If there be time to expose through discussion the falsehood and fallacies, to avert the evil by the processes of education, the remedy to be applied is more speech, not enforced silence.
Near v. Minnesota, 283 U.S. 697, 51 S.Ct. 625, 75 L.Ed. 1357 (1931): In this case, the Supreme Court interpreted the First and Fourteenth Amendments to forbid "previous restraints" upon publication of a newspaper. "Previous restraints"--or in current terminology, "prior restraints--suppress the freedom of the press to publish without obstruction, and recognize that lawsuits or prosecutions for libel are "subsequent punishments." The Court invalidated as an infringement of constitutional guarantees a Minnesota statue allowing specified government officials or private citizens to maintain a lawsuit in the name of the State to suppress a public nuisance and enjoin the publication of future issues of a "malicious, scandalous and defamatory newspaper, magazine or other periodical," unless the publisher can prove "the truth was published with good motives and for justifiable ends."
Brandenburg v. Ohio, 395 U.S. 444, 89 S.Ct. 1827, 23 L.Ed.2d. 430 (1969): The Supreme Court established the modern version of the "clear and present danger" doctrine, holding that states only could restrict speech that "is directed to inciting or producing imminent lawless action, and is likely to incite or produce such action."
The Right to Read Freely
Evans v. Selma Union High School District of Fresno County, 222 P. 801 (Ca. 1924): The California State Supreme Court held that the King James version of the Bible was not a "publication of a sectarian, partisan, or denominational character" that a State statute required a public high school library to exclude from its collections. The "fact that the King James version is commonly used by Protestant Churches and not by Catholics" does not "make its character sectarian," the court stated. "The mere act of purchasing a book to be added to the school library does not carry with it any implication of the adoption of the theory or dogma contained therein, or any approval of the book itself, except as a work of literature fit to be included in a reference library."
Rosenberg v. Board of Education of City of New York, 92 N.Y.S.2d 344 (Sup. Ct. Kings County 1949): After considering the charge that Oliver Twist and the Merchant of Venice are "objectionable because they tend to engender hatred of the Jew as a person and as a race," the Supreme Court, Kings County, New York, decided that these two works cannot be banned from the New York City schools, libraries, or classrooms, declaring that the Board of Education "acted in good faith without malice or prejudice and in the best interests of the school system entrusted to their care and control, and, therefore, that no substantial reason exists which compels the suppression of the two books under consideration."
Todd v. Rochester Community Schools, 200 N.W.2d 90 (Mich. Ct. App. 1972): In deciding that Slaughterhouse-Five could not be banned from the libraries and classrooms of the Michigan schools, the Court of Appeals of Michigan declared: "Vonnegut's literary dwellings on war, religion, death, Christ, God, government, politics, and any other subject should be as welcome in the public schools of this state as those of Machiavelli, Chaucer, Shakespeare, Melville, Lenin, Joseph McCarthy, or Walt Disney. The students of Michigan are free to make of Slaughterhouse-Five what they will."
Minarcini v. Strongsville (Ohio) City School District, 541 F.2d 577 (6th Cir. 1976): The Strongsville City Board of Education rejected faculty recommendations to purchase Joseph Heller's Catch-22 and Kurt Vonnegut's God Bless You, Mr. Rosewater and ordered the removal of Catch-22 and Vonnegut's Cat's Cradle from the library. The U.S. Court of Appeals for the Sixth Circuit ruled against the School Board, upholding the students' First Amendment right to receive information and the librarian's right to disseminate it. "The removal of books from a school library is a much more serious burden upon the freedom of classroom discussion than the action found unconstitutional in Tinker v. Des Moines School District."
Right to Read Defense Committee v. School Committee of the City of Chelsea, 454 F. Supp. 703 (D. Mass. 1978): The Chelsea, Mass. School Committee decided to bar from the high school library a poetry anthology, Male and Female under 18, because of the inclusion of an "offensive" and "damaging" poem, "The City to a Young Girl," written by a fifteen-year-old girl. Challenged in U.S. District Court, Joseph L. Tauro ruled: "The library is 'a mighty resource in the marketplace of ideas.' There a student can literally explore the unknown, and discover areas of interest and thought not covered by the prescribed curriculum. The student who discovers the magic of the library is on the way to a life-long experience of self-education and enrichment. That student learns that a library is a place to test or expand upon ideas presented to him, in or out of the classroom. The most effective antidote to the poison of mindless orthodoxy is ready access to a broad sweep of ideas and philosophies. There is no danger from such exposure. The danger is mind control. The committee's ban of the anthology Male and Female is enjoined."
Salvail v. Nashua Board of Education, 469 F. Supp. 1269 (D. N.H. 1979): MS magazine was removed from a New Hampshire high school library by order of the Nashua School Board. The U.S. District Court decided for the student, teacher, and adult residents who had brought action against the school board, the court concluding: "The court finds and rules that the defendants herein have failed to demonstrate a substantial and legitimate government interest sufficient to warrant the removal of MS magazine from the Nashua High School library. Their action contravenes the plaintiffs' First Amendment rights, and as such it is plainly wrong."
Loewen v. Turnipseed, 488 F. Supp. 1138 (N.D. Miss. 1980): When the Mississippi Textbook Purchasing Board refused to approve Mississippi: Conflict and Change for use in Mississippi public schools, on the grounds that it was too concerned with racial matters and too controversial, the authors filed suit. U.S. District Judge Orma R. Smith ruled that the criteria used were not justifiable grounds for rejecting the book. He held that the controversial racial matter was a factor leading to its rejection, and thus the authors had been denied their constitutionally guaranteed rights of freedom of speech and the press.
Kreimer v. Bureau of Police for Morristown, 958 F.2d 1242 (3d Cir. 1992): In detailed analysis, the court of appeals held that a municipal public library was a limited public forum, meaning open to the public for the specified purposes of exercising their First Amendment rights to read and receive information from library materials. Such exercise could not interfere with or disrupt the library's reasonable rules of operation. The court then upheld three library rules which: 1) required patrons to read, study, or otherwise use library materials while there; 2) prohibited noisy or boisterous activities which might disturb other patrons; and 3) permitted the removal of any patron whose offensive bodily hygiene was a nuisance to other patrons.
Case v. Unified School District No. 233, 908 F. Supp. 864 (D. Kan. 1995): When the Olathe, Kansas, School Board voted to remove the book Annie on My Mind, a novel depicting a lesbian relationship between two teenagers, from the district's junior and senior high school libraries, the federal district court in Kansas found they violated the students' rights under the First Amendment to the United States Constitution and the corresponding provisions of the Kansas State Constitution. Despite the fact that the school board testified that they had removed the book because of "educational unsuitability," which is within their rights under the Pico decision, it became obvious from their testimony that the book was removed because they disapproved of the book's ideology. In addition, it was found that the school board had violated their own materials selection and reconsideration policies, which weighed heavily in the judge's decision.
Campbell v. St. Tammany Parish School Board, 64 F.3d 184 (5th Cir. 1995): Public school district removed the book Voodoo and Hoodoo, a discussion of the origins, history, and practices of the voodoo and hoodoo religions that included an outline of some specific practices, from all district library shelves. Parents of several students sued and the district court granted summary judgment in their favor. The court of appeals reversed, finding that there was not enough evidence at that stage to determine that board members had an unconstitutional motivation, such as denying students access to ideas with which board members disagreed; the court remanded the case for a full trial at which all board members could be questioned about their reasons for removing the book. The court observed that "in light of the special role of the school library as a place where students may freely and voluntarily explore diverse topics, the school board's non-curricular decision to remove a book well after it had been placed in the public school libraries evokes the question whether that action might not be an attempt to 'strangle the free mind at its source.'" The court focused on some evidence that school board members had removed the book without having read it or having read only excerpts provided by the Christian Coalition. The parties settled the case before trial by returning the book to the libraries on specially designated reserve shelves.
Sund v. City of Wichita Falls, Texas, 121 F. Supp. 2d 530 (N.D. Texas, 2000): City residents who were members of a church sought removal of two books, Heather Has Two Mommies and Daddy's Roommate, because they disapproved of the books' depiction of homosexuality. The City of Wichita Falls City Council voted to restrict access to the books if 300 persons signed a petition asking for the restriction. A separate group of citizens filed suit after the books were removed from the children's section and placed on a locked shelf in the adult area of the library. Following a trial on the merits, the District Court permanently enjoined the city from enforcing the resolution permitting the removal of the two books. It held that the City's resolution constituted impermissible content-based and viewpoint based discrimination; was not narrowly tailored to serve a compelling state interest; provided no standards or review process; and improperly delegated governmental authority over the selection and removal of the library's books to any 300 private citizens who wish to remove a book from the children's area of the Library.
Counts v. Cedarville School District, 295 F.Supp.2d 996 (W.D. Ark. 2003): The school board of the Cedarville, Arkansas school district voted to restrict students' access to the Harry Potter books, on the grounds that the books promoted disobedience and disrespect for authority and dealt with witchcraft and the occult. As a result of the vote, students in the Cedarville school district were required to obtain a signed permission slip from their parents or guardians before they would be allowed to borrow any of the Harry Potter books from school libraries. The District Court overturned the Board's decision and ordered the books returned to unrestricted circulation, on the grounds that the restrictions violated students' First Amendment right to read and receive information. In so doing, the Court noted that while the Board necessarily performed highly discretionary functions related to the operation of the schools, it was still bound by the Bill of Rights and could not abridge students' First Amendment right to read a book on the basis of an undifferentiated fear of disturbance or because the Board disagreed with the ideas contained in the book.
See also: Board of Education, Island Trees Union Free School District No. 26 v. Pico, 457 U.S. 853, 102 S.Ct. 2799, 73 L.Ed.2d 435 (1982)
Smith v. Board of School Commissioners of Mobile (Ala.) County, 827 F.2d 684 (11th Cir. 1987)
Mozert v. Hawkins County Board of Education, 827 F.2d 1058 (6th Cir. 1987)
Virgil v. School Board of Columbia County, 862 F.2d 1517 (11th Cir. 1989)
American Library Association v. U.S. Department of Justice and Reno v. American Civil Liberties Union, 521 U.S. 844, 117 S.Ct. 2329, 138 L.Ed.2d. 874 (1997)
Mainstream Loudoun, et al. v. Board of Trustees of the Loudoun County Library, 24 F.Supp.2d 552 (E.D. of Va. 1998)
Freedom of Expression in Schools
Tinker v. Des Moines Independent Community School District, 393 U.S. 503, 89 S.Ct. 733, 21 L.Ed.2d. 731 (1969): In this seminal case considering the First Amendment rights of students (John F. Tinker, Christopher Eckhardt, and Mary Beth Tinker) who were expelled after they wore black armbands to school in symbolic protest of the Vietnam War, the Supreme Court held that students "do not shed their constitutional rights at the schoolhouse gate" and that the First Amendment protects public school students' rights to express political and social views.
Zykan v. Warsaw (Indiana) Community School Corporation and Warsaw School Board of Trustees, 631 F.2d 1300 (7th Cir. 1980): A student brought suit seeking to reverse school officials' decision to "limit or prohibit the use of certain textbooks, to remove a certain book from the school library, and to delete certain courses from the curriculum." The district court dismissed the suit. On appeal, the Court of Appeals for the Seventh Circuit ruled that the school board has the right to establish a curriculum on the basis of its own discretion, but it is forbidden to impose a "pall of orthodoxy." The right of students to file complaints was recognized, but the court held that the students' claims "must cross a relatively high threshold before entering upon the field of a constitutional claim suitable for federal court litigation."
Board of Education, Island Trees Union Free School District No. 26 v. Pico, 457 U.S. 853, 102 S.Ct. 2799, 73 L.Ed.2d 435 (1982): In 1975, three school board members sought the removal of several books determined objectionable by a politically conservative organization. The following February, the board gave an "unofficial direction" that the books be removed from the school libraries, so that board members could read them. When the board action attracted press attention, the board described the books as "anti-American, anti-Christian, anti-Semitic, and just plain filthy." The nine books that were the subject of the lawsuit were Slaughterhouse-Five by Kurt Vonnegut, Jr.; The Naked Ape by Desmond Morris; Down These Mean Streets by Piri Thomas; Best Short Stories of Negro Writers edited by Langston Hughes; Go Ask Alice; Laughing Boy by Oliver LaFarge; Black Boy by Richard Wright; A Hero Ain't Nothin' But a Sandwich by Alice Childress; and Soul on Ice by Eldrige Cleaver.
The board appointed a review committee that recommended that five of the books be returned to the shelves, two be placed on restricted shelves, and two be removed from the library. The full board voted to remove all but one book. After years of appeals, the U.S. Supreme Court upheld (5-4) the students' challenge to the board's action. The Court held that school boards do not have unrestricted authority to select library books and that the First Amendment is implicated when books are removed arbitrarily. Justice Brennan declared in the plurality opinion: "Local school boards may not remove books from school library shelves simply because they dislike the ideas contained in those books and seek by their removal to prescribe what shall be orthodox in politics, nationalism, religion, or other matters of opinion."
Smith v. Board of School Commissioners of Mobile (Ala.) County, 827 F.2d 684 (11th Cir. 1987): Parents and other citizens brought a lawsuit against the school board, alleging that the school system was teaching the tenets of an anti-religious religion called "secular humanism." The complainants asked that forty-four different elementary through high school level textbooks be removed from the curriculum. After an initial ruling in a federal district court in favor of the plaintiffs, the U.S. Court of Appeals for the Eleventh Circuit ruled that as long as the school was motivated by a secular purpose, it didn't matter whether the curriculum and texts shared ideas held by one or more religious groups. The Court found that the texts in question promoted important secular values (tolerance, self-respect, logical decision making) and thus the use of the textbooks neither unconstitutionally advanced a nontheistic religion nor inhibited theistic religions.
Mozert v. Hawkins County Board of Education, 827 F.2d 1058 (6th Cir. 1987): Parents and students brought this action challenging the mandatory use of certain textbooks on the ground that the texts promoted values offensive to their religious beliefs. The U.S. Court of Appeals for the Sixth Circuit rejected the plaintiffs' claim, finding that the Constitution does not require school curricula to be revised substantially in order to accommodate religious beliefs.
Hazelwood School District v. Kuhlmeier, 484 U.S. 260, 108 S.Ct. 562, 98 L.Ed.2d 592 (1988): After a school principal removed two pages containing articles, among others, on teenage pregnancy and the impact of divorce on students from a newspaper produced as part of a high school journalism class, the student staff filed suit claiming violation of their First Amendment rights. The principal defended his action on the grounds that he was protecting the privacy of the pregnant students described, protecting younger students from inappropriate references to sexual activity and birth control, and protecting the school from a potential libel action.
The Supreme Court held that the principal acted reasonably and did not violate the students' First Amendment rights. A school need not tolerate student speech, the Court declared, "that is inconsistent with its 'basic educational mission,' even though the government could not censor similar speech outside the school." In addition, the Court found the newspaper was part of the regular journalism curriculum and subject to extensive control by a faculty member. The school, thus, did not create a public forum for the expression of ideas, but instead maintained the newspaper "as supervised learning experience for journalism students." The Court concluded that "educators do not offend the First Amendment by exercising editorial control over the style and content of student speech in school-sponsored expressive activities so long as their actions are reasonably related to legitimate pedagogical concerns." The Court strongly suggested that supervised student activities that "may fairly be characterized as part of the school curriculum," including school-sponsored publications and theatrical productions, were subject to the authority of educators. The Court cautioned, however, that this authority does not justify an educator's attempt "to silence a student's personal expression that happens to occur on the school premises.
Virgil v. School Board of Columbia County, 862 F.2d 1517 (11th Cir. 1989): This case presented the question of whether the First Amendment prevents a school board from removing a previously approved textbook from an elective high school class because of objections to the material's vulgarity and sexual explicitness. The U.S. Circuit Court of Appeals concluded that a school board may, without contravening constitutional limits, take such action when the removal decision was "reasonably related" to the "legitimate pedagogical concern" of denying students access to "potentially sensitive topics." The written "stipulation concerning Board Reasons" cites explicit sexuality and excessively vulgar language in two selections contained in Volume 1, The Humanities: Cultural Roots and Continuities as the basis for removal of this textbook. The two selections are Chaucer's The Miller's Tale and Aristophanes's Lysistrata.
Romano v. Harrington, 725 F.Supp. 687 (E.D. N.Y. 1989): The U.S. District Court found in favor of a faculty adviser to a high-school newspaper who claimed a violation of the First and Fourteenth Amendments when fired following the newspaper's publication of a student's article opposing the federal holiday for Martin Luther King, Jr. The Court held that educators may exercise greater editorial control over what students write for class than what they voluntarily submit to extracurricular publications.
Cohen v. San Bernardino Valley College, 92 F.3d 968 (9th Cir. 1996): Tenured professor of English was disciplined for violating the college's sexual harassment policy against creating a "hostile learning environment" for his in-class use of profanity, and discussions of sex, pornography, obscenity, cannibalism, and other controversial topics in a confrontational, devil's advocate style. The court held the policy unconstitutionally vague as applied to Cohen's in-class speech, calling it a "legalistic ambush." In-class speech did not fall within the policy's core definition of sexual harassment and Cohen, who had used this apparently sound and proper teaching style for year, did not know the policy would be applied to him or his teaching methods.
See also: Evans v. Selma Union High School District of Fresno County, 222 P. 801 (Ca. 1924)
West Virginia State Board of Education v. Barnette, 319 U.S. 624 (1943)
Rosenberg v. Board of Education of City of New York, 92 N.Y.S.2d 344 (Sup. Ct. Kings County 1949)
Todd v. Rochester Community Schools, 200 N.W.2d 90 (Mich. Ct. App. 1972)
Minarcini v. Strongsville (Ohio) City School District, 541 F.2d 577 (6th Cir. 1976)
Right to Read Defense Committee v. School Committee of the City of Chelsea, 454 F. Supp. 703 (D. Mass. 1978)
Salvail v. Nashua Board of Education, 469 F. Supp. 1269 (D. N.H. 1979)
Loewen v. Turnipseed, 488 F. Supp. 1138 (N.D. Miss. 1980)
Case v. Unified School District No. 233, 908 F. Supp. 864 (D. Kan. 1995)
Campbell v. St. Tammany Parish School Board, 64 F.3d 184 (5th Cir. 1995)
Counts v. Cedarville School District, 295 F.Supp.2d 996 (W.D. Ark. 2003)
Minors' First Amendment Rights
American Amusement Machine Association, et al., v. Teri Kendrick, et al., 244 F.3d 954 (7th Cir. 2001); cert.denied, 534 U.S. 994; 122 S. Ct. 462; 151 L. Ed. 2d 379 (2001): Enacted in July 2001, an Indianapolis, Ind., city ordinance required video game arcade owners to limit access to games that depicted certain activities, including amputation, decapitation, dismemberment, bloodshed, or sexual intercourse. Only with the permission of an accompanying parent or guardian could children seventeen years old and younger play these types of video games. On March 23, 2001, a three-judge panel of the Seventh Circuit Court of Appeals reversed and remanded the trial court's decision stating that "children have First Amendment rights." On Monday, October 29, 2001, the U.S. Supreme Court denied certiorari.
Interactive Digital Software Association, et al. v. St. Louis County, Missouri, et al., 329 F.3d 954(8th Cir. 2003): St. Louis County passed an ordinance banned selling or renting violent video games to minors, or permitting them to play such games, without parental consent, and video game dealers sued to overturn the law. The Court of Appeals found the ordinance unconstitutional, holding that depictions of violence alone cannot fall within the legal definition of obscenity for either minors or adults, and that a government cannot silence protected speech for children by wrapping itself in the cloak of parental authority. The Court ordered the lower court to enter an injunction barring enforcement of the law, citing the Supreme Court's recognition in Erznoznik v. Jacksonville, 422 U.S. 205, 213-14, 45 L. Ed. 2d 125, 95 S. Ct. 2268 (1975) that "speech that is neither obscene as to youths nor subject to some other legitimate proscription cannot be suppressed solely to protect the young from ideas or images that a legislative body thinks unsuitable for them. In most circumstances, the values protected by the First Amendment are no less applicable when the government seeks to control the flow of information to minors."
See also: West Virginia State Board of Education v. Barnette, 319 U.S. 624 (1943)
Ginsberg v. New York, 390 U.S. 629 (1968)
Tinker v. Des Moines Independent Community School District, 393 U.S. 503, 89 S.Ct. 733, 21 L.Ed.2d. 731 (1969)
Board of Education, Island Trees Union Free School District No. 26 v. Pico, 457 U.S. 853, 102 S.Ct. 2799, 73 L.Ed.2d 435 (1982)
Free Press
New York Times Company v. United States, 403 U.S. 713, 91 S.Ct. 2140, 29 L.Ed.2d. 822 (1971): In the "Pentagon Papers" case, the U.S. government attempted to enjoin the New York Times and the Washington Post from publishing classified documents concerning the Vietnam War. Applying the doctrine of prior restraint from Near v. Minnesota, the Court found that the claims that publication of the documents would interfere with foreign policy and prolong the war were too speculative, and could not overcome the strong presumption against prior restraints.
Hustler Magazine, Inc. v. Falwell, 485 U.S. 46, 108 S.Ct. 876, 99 L.Ed.2d. 41 (1988): Hustler Magazine published a parody of a liquor advertisement in which Rev. Jerry Falwell described his "first time" as a drunken encounter with his mother in an outhouse. A unanimous Supreme Court held that a public figure had to show actual malice in order to recover for intentional infliction of emotional distress as a result of a parody in a magazine. The Court held that political cartoons and satire such as this parody "have played a prominent role in public and political debate. And although the outrageous caricature in this case "is at best a distant cousin of political cartoons," the Court could see no standard to distinguish among types of parodies that would not harm public discourse, which would be poorer without such satire.
Simon & Schuster, Inc. v. Members of New York State Crime Victims Board, 502 U.S. 105, 112 S.Ct. 501, 116 L.Ed.2d. 476 (1991): The Supreme Court struck down New York's "Son of Sam Law," which required book publishers to turn over to the state, any proceeds from a book written by any person convicted of a crime, related to or about that crime. The Court said the law impermissibly singled out income only from the prisoner's expressive activity, and then only expressive activity relating to his crime, without necessarily compensating any victims of those crimes. The Court agreed that many important books--including The Autobiography of Malcolm X, Thoreau's Civil Disobedience, and works by Martin Luther King--perhaps might not have been published with such a law in place.
See also: The New York Times v. Sullivan, 376 U.S. 254, 84 S.Ct. 710, 11 L.Ed.2d. 686 (1964)
Gertz v. Robert Welch, Inc., 418 U.S. 323, 94 S.Ct. 2997, 41 L.Ed.2d. 789 (1974)
The Right to Dissent
West Virginia State Board of Education v. Barnette, 319 U.S. 624, 87 L. Ed. 1628, 63 S. Ct. 1178 (1943): In 1940, the West Virginia Board of Education issued regulations requiring every schoolchild to participate daily in a salute to the flag of the United States. The Barnette children, all members of the Jehovah's Witnesses, refused to participate in the flag salute, consistent with the tenets of their religious beliefs, and were expelled from school. The Supreme Court struck down the regulation on the grounds that the First Amendment barred any rule compelling an individual to salute the flag or participate in the Pledge of Allegiance. In strong language, the Court affirmed the right to dissent: "But freedom to differ is not limited to things that do not matter much. That would be a mere shadow of freedom. The test of its substance is the right to differ as to things that touch the heart of the existing order. If there is any fixed star in our constitutional constellation, it is that no official, high or petty, can prescribe what shall be orthodox in politics, nationalism, religion, or other matters of opinion, or force citizens to confess by word or act their faith therein. If there are any circumstances which permit an exception, they do not now occur to us."
Wooley v. Maynard, 430 U.S. 705 (1977): A Jehovah’s Witness objected to New Hampshire’s state motto—“Live Free or Die”—on his license plate. Because the saying went against his conscience, he did not believe the state had a right to force him to advertise something the state believes in, but he does not. When the state discovered he had covered up the motto on his license plate, they prosecuted him. The Supreme Court agreed with him, saying, “We begin with the proposition that the right of freedom of thought protected by the First Amendment against state action includes both the right to speak freely and the right to refrain from speaking at all.” In addition, the Court said, “The fact that most individuals agree with the thrust of New Hampshire’s motto is not the test; most Americans also find the flag salute acceptable. The First Amendment protects the right of individuals to hold a point of view different from the majority and to refuse to foster, in the way New Hampshire commands, an idea they find morally objectionable.”
Texas v. Johnson, 491 U.S. 397, 109 S.Ct. 2533, 105 L.Ed.2d 342 (1989): In this case the Supreme Court held that burning the United States flag was a protected form of symbolic political speech, concluding that there is no legitimate government interest in protecting the U.S.flag where the sole act in question is destroying the flag in its symbolic capacity. "A bedrock principle underlying the First Amendment is that Government may not prohibit the expression of an idea simply because society finds the idea itself offensive or disagreeable."
U.S. v. Eichman and U.S. v. Haggerty, 496 U.S. 310, 110 S.Ct. 2404, 110 L.Ed.2d 287 (1990): The Supreme Court struck down a federal statute designed to allow the government to punish persons who burn United States flags. The Court held that the plain intent of the statute was to punish persons for political expression and that burning the flag inextricably carries with it a political message.
City of Ladue v. Gilleo, 512 U.S. 43, 114 S.Ct. 2038, 129 L.Ed. 2d. 36 (1994): A federal court struck down a local ordinance banning the placement of signs on private property, in a challenge brought by a woman who had posted a sign on her lawn protesting the Persian Gulf War. The Court said lawn signs were a "venerable means of communication that is both unique and important," for which "no adequate substitutes exist."
R.A.V. v. St. Paul, 505 U.S. 377, 112 S.Ct. 2538, 120 L.Ed.2d. 305 (1992): St. Paul, Minnesota passed an ordinance that banned "hate speech," any expression, such as a burning cross or swastika, that might arouse anger, alarm, or resentment in others on the basis of race, color, religion, or gender. The Supreme Court struck the ordinance down as unconstitutionally discriminating based on the content of expression: the law banned only fighting words that insult based on race, religion, or gender, while abusive invective aimed at someone on the basis of political affiliation or sexual orientation would be permissible. The law thus reflected only the city's special hostility towards certain biases and not others, which is what the First Amendment forbids.
See also: Tinker v. Des Moines Independent Community School District, 393 U.S. 503, 89 S.Ct. 733, 21 L.Ed.2d. 731 (1969)
The Right to Free Association and the Freedom of Religion
Concerned Women for America, Inc. v. Lafayette County, 883 F.2d 32 (5th Cir. 1989): The County library that had permitted various groups to use its auditorium had created a designated public forum and thus could not deny access to groups whose meetings had political or religious content. Such a denial would be based on the content of speech and would be permissible only as the least restrictive means to serve a compelling interest. Preventing disruption or interference with general use of the library could be such an interest; library officials' first step to controlling such disruptions would be to impose reasonable regulations on the time, place, or manner of the auditorium's use, provided the regulations apply regardless of the subject matter of the speech.
Lamb's Chapel v. Center Moriches Union Free School Dist., 508 U.S. 384, 113 S.Ct. 2141, 124 L.Ed.2d. 352 (1993): The Court held that a school district that opened its classrooms after hours to a range of groups for social, civic, and recreational purposes, including films and lectures about a range of issues such as family values and child-rearing, could not deny access to a religious organization to discuss the same, permissible issues from a religious point of view. Whether or not the classrooms were public fora, the school district could not deny use based on the speaker's point of view on an otherwise permissible topic.
Right to Privacy and Anonymity
Stanley v. Georgia, 394 U.S. 55, 22 L. Ed. 2d 542, 89 S. Ct. 1243 (1969): A man found to possess obscene materials in his home for his private use was convicted of possessing obscene materials in violation of the state laws of Georgia. The Supreme Court overturned the conviction, holding that Constitution protects the right to receive information and ideas, regardless of their social worth, and to be generally free from governmental intrusions into one's privacy on the grounds that the government "cannot constitutionally premise legislation on the desirability of controlling a person's private thoughts."
McIntyre v. Ohio Election Commission, 514 U.S. 334, 115 S.Ct. 1511, 131 L.Ed.2d. 426 (1995): The Supreme Court struck down a state law banning distribution of anonymous campaign literature, emphasizing the long tradition of anonymous and pseudonymous political and literary speech and recognizing the right to exercise First Amendment rights anonymously as an "honorable tradition of advocacy and dissent."
Tattered Cover, Inc. v. City of Thornton, 44 P.3d 1044 (Colo. Sup. Ct., 2002): The Colorado Supreme Court reversed a court decision that required Denver's Tattered Cover Book Store to turn over information about books purchased by one of its customers. As part of an investigation, officers of the City of Thornton (Colo.) discovered two books on the manufacture of amphetamines in a suspect's residence and found a Tattered Cover mailer in the garbage. The officers, seeking to tie the books to the suspect directly, served a Drug Enforcement Agency subpoena on the Tattered Cover. The subpoena demanded the title of the books corresponding to the order and invoice numbers of the mailer, as well as information about all other books ever ordered by the suspect. The Tattered Cover then brought suit to litigate the validity of the search warrant. The court began its opinion by stating that both the First Amendment to the U.S. Constitution and Article II, Section 10 of the Colorado Constitution protect an individual's fundamental right to purchase books anonymously, free from governmental interference.
When Is Speech Unprotected?
Obscenity and Indecency
Butler v. Michigan, 352 U.S. 380, 1 L. Ed. 2d 412, 77 S. Ct. 524 (1957): A man convicted of selling "a book containing obscene, immoral, lewd, lascivious language, or descriptions, tending to incite minors to violent or depraved or immoral acts, manifestly tending to the corruption of the morals of youth" to a police officer appealed his conviction to the Supreme Court. The Court overturned the conviction and struck down the law, holding that the state's attempt to quarantine the general reading public against books not too rugged for grown men and women to read in order to shield juvenile innocence "is to burn the house to roast the pig." Famously, the Court ruled that the state of Michigan could not "reduce[s] the adult population of Michigan to reading only what is fit for children."
Ginsberg v. New York, 390 U.S. 62, 20 L. Ed. 2d 195, 88 S. Ct. 1274 (1968): The Supreme Court upheld a New York State statute barring retailers from selling sexually explicit publications to minors under the age of 17. Noting that the statute did not interfere with the right of adults to purchase and read such materials, it found that it was not constitutionally impermissible for New York to restrict minors rights to such publications in light of the state's interest in safeguarding children's welfare and supporting parents' claim to authority in the rearing of their children.
Miller v. California, 413 U.S. 15, 93 S.Ct. 2607, 37 L.Ed.2d. 419 (1973): In this case, the U.S. Supreme Court mapped out its famous three-part definition of obscenity. First, the average person, applying contemporary community standards, must find that the work, taken as a whole, appeals to prurient interests; second, that it depicts or describes, in a patently offensive way, sexual conduct as defined by state law; and third, that the work, taken as a whole, lacks serious literary, artistic, political, or scientific value. The Court ruled that community standards and state statutes that describe sexual depictions to be suppressed could be used to prosecute Miller, who operated one of the largest West Coast mail order businesses dealing in sexually explicit materials.
New York v. Ferber, 458 U.S. 747, 102 S.Ct. 3348, 73 L.Ed.2d 1113 (1982): In July 1982, the U.S. Supreme Court added child pornography as another category of speech excluded from First Amendment protection. The other categories excluded are obscenity, defamation, incitement, and "fighting words." The ruling came in the case when the U.S. Supreme Court affirmed a conviction against Ferber for showing a movie depicting two young boys masturbating. The film itself was not seen as obscene for adults, but the Court made the distinction between what was obscene if children were the participants compared with if adults were the leading actors.
American Booksellers Assoc., Inc. v. Hudnut, 771 F.2d 323 (7th Cir. 1985) (Easterbrook, J.), aff'd., 475 U.S. 1001, 106 S.Ct. 1172, 89 L.Ed.2d 291 (1986): The city of Indianapolis passed a statute outlawing pornography, defined as the graphic, sexually explicit subordination of women, presenting women as sex objects, or as enjoying pain, humiliation, or servility. The court of appeals struck the law down, saying it impermissibly established an "approved" view of women and how they react in sexual encounters. The law therefore allowed sexually explicit words and images that adhered to that approved view, but banned sexually explicit words and images that did not adhere to the approved view. The court called this "thought control," saying the "Constitution forbids the state to declare one perspective right and silence opponents."
National Endowment for the Arts, et al. v. Finley, et al., 524 U.S. 569, 118 S.Ct. 2168, 141 L. Ed. 2d 500 (1998): In 1990, homoerotic photographs by Robert Mapplethorpe and blasphemous ones by Andres Serrano created a furor on Capitol Hill, because both artists had received grants from the National Endowment for the Arts (NEA). As a consequence, the NEA governing statute was amended to require the NEA to consider "decency" and "respect" for American "values" when selecting future grant recipients. Shortly thereafter, performance artists Karen Finley, John Fleck, Holly Hughes, and Tim Miller were denied fellowships, because of the "decency and respect" clause, they alleged. They made this allegation in a federal court lawsuit seeking to have the clause declared unconstitutional; and they were successful at the district court and court of appeals level. The U.S. Supreme Court ruled, however, that the statute is constitutional "on its face." Writing for the court, Justice Sandra Day O'Connor did not "perceive a realistic danger that it will be utilized to preclude or punish the expression of particular views," nor did she think that the statute would "significantly compromise First Amendment values."
John D. Ashcroft, Attorney General, et al. v. Free Speech Coalition, et al., 535 U.S. 234, 122 S.Ct. 1389, 152 L.Ed.2d 403, (2002): The U.S. Supreme Court affirmed the Ninth Circuit's judgment invalidating the Child Pornography Prevention Act of 1996 on the grounds that the act's ban on any depiction of pornographic images of children, including computer-generated images, was overly broad and unconstitutional under the First Amendment. Supreme Court Justice Anthony M. Kennedy wrote: "First Amendment freedoms are most in danger when the government seeks to control thought or to justify its laws for that impermissible end. The right to think is the beginning of freedom, and speech must be protected from the government because speech is the beginning of thought."
See also: Stanley v. Georgia, 394 U.S. 55, 22 L. Ed. 2d 542, 89 S. Ct. 1243 (1969)
Libel
The New York Times v. Sullivan, 376 U.S. 254, 84 S.Ct. 710, 11 L.Ed.2d. 686 (1964): To protect "uninhibited, robust, and wide-open" debate on public issues, the Supreme Court held that no public official may recover "damages for a defamatory falsehood relating to his official conduct unless he proves that the statement was made with 'actual malice'--that is, with knowledge that it was false or with reckless disregard of whether it was false or not." The Court stated that the First and Fourteenth Amendments require that critics of official conduct have the "fair equivalent" to the immunity protection given to a public official when he is sued for defamatory speech uttered in the course of his duties.
Gertz v. Robert Welch, Inc., 418 U.S. 323, 94 S.Ct. 2997, 41 L.Ed.2d. 789 (1974): The Court applied the rule in the New York Times case to public figures, finding that persons who have special prominence in society by virtue of their fame or notoriety, even if they are not public officials, must prove "actual malice" when alleging libel. Gertz was a prominent lawyer who alleged that a leaflet defamed him.
See also: Hustler Magazine, Inc. v. Falwell, 485 U.S. 46, 108 S.Ct. 876, 99 L.Ed.2d. 41 (1988)
The First Amendment and New Technologies
Broadcast and Cable Communications
FCC V. Pacifica Foundation, 438 U.S. 726, 57 L. Ed. 2d 1073, 98 S. Ct. 3026 (1978): In a case that considered the First Amendment protections extended to a radio station's daytime broadcast of comedian George Carlin's "Seven Filthy Words" monologue, the Supreme Court held that Section 326 of the Telecommunications Act, which prohibits the FCC from censoring broadcasts over radio or television, does not limit the FCC's authority to sanction radio or television stations broadcasting material that is obscene, indecent, or profane. Though the censorship ban under Section 326 precludes editing proposed broadcasts in advance, the ban does not deny the FCC the power to review the content of completed broadcasts. In its decision, the Court concluded that broadcast materials have limited First Amendment protection because of the uniquely pervasive presence that radio and television occupy in the lives of people, and the unique ability of children to access radio and television broadcasts.
Denver Area Educational Telecommunications Consortium, Inc. v. FCC, 518 U.S. 727, 116 S.Ct. 2374, 135 L.Ed.2d. 288 (1996): In a decision that produced six opinions, the Supreme Court upheld a federal law permitting cable system operators to ban "indecent" or "patently offensive" speech on leased access channels. The Court also struck down a similar law for non-leased, public access channels, and struck down a law requiring indecent material to be shown on separate, segregated cable channels. The case is significant in that the Court affirmed that protecting children from some speech is a compelling state interest.
United States, et al. v. Playboy Entertainment Group, Inc., 529 U.S. 803, 120 S.Ct. 1878, 146 L.Ed.2d 865 (2000): On May 22, in a 5-4 decision, the U.S. Supreme Court upheld a U.S. District Court decision that Section 505 of the Telecommunications Act of 1996 violated the First Amendment when it sought to restrict certain cable channels with sexually explicit content to late night hours unless they fully scrambled their signal bleed. In an opinion written by Justice Anthony Kennedy, the court ruled that the government may have a legitimate interest in protecting children from exposure to "indecent material." Section 505, however, is a content-based speech restriction and, therefore, must be the least restrictive means for meeting the governmental interest. The court found that Section 505 is not the least restrictive means.
Telecommunications
Sable Communications of California, Inc v. FCC, 492 U.S. 115, 106 L. Ed. 2d 93, 109 S. Ct. 2829 (1989): The Supreme Court overturned a Telecommunications Act ban on indecent telephone messages, concluding the law violates the First Amendment because the statute's denial of adult access to such messages far exceeds that which is necessary to serve the compelling interest of preventing minors from being exposed to the messages. Unlike broadcast radio and television, which can intrude on the privacy of the home without prior warning of content and which is uniquely accessible to children, telephone communications require the listener to take affirmative steps to receive the communications. The failure of the Government to show any findings that would justify a conclusion that there are no constitutionally acceptable less restrictive means to achieve the Government's interest in protecting minors, such as scrambling or the use of access codes, demonstrates that a total ban on such communications goes too far in restricting constitutionally protected speech. To allow the ban to stand would have the effect of "limiting the content of adult telephone communications to that which is suitable for children to hear."
The Internet
American Library Association v. U.S. Department of Justice and Reno v. American Civil Liberties Union, 521 U.S. 844, 117 S.Ct. 2329, 138 L.Ed.2d. 874 (1997): In a 9-0 decision, the U.S. Supreme Court on June 26, 1997, declared unconstitutional a federal law making it a crime to send or display indecent material on line in a way available to minors. The decision in the consolidated cases completed a successful challenge to the so-called Communications Decency Act by the Citizens Internet Empowerment Coalition, in which the American Library Association and the Freedom to Read Foundation played leading roles. The Court held that speech on the Internet is entitled to the highest level of First Amendment protection, similar to the protection the Court gives to books and newspapers.
Mainstream Loudoun, et al. v. Board of Trustees of the Loudoun County Library, 24 F.Supp.2d 552 (E.D. of Va. 1998): Adopted in 1997, the Loudoun County, Va., Library Board's "Policy on Internet Sexual Harassment" was designed to prevent adult and minor Internet users from accessing illegal pornography and to avoid the creation of a sexually hostile environment. To accomplish these goals, the board contracted with Log-On Data Corporation, a filtering software manufacturer that offers a product called "X-Stop." Though Log-On Data Corp. refused to divulge the method by which X-Stop filters sites, it soon became apparent that the software blocks some sites that are not prohibited by the policy. Shortly after the adoption of the policy, People for the American Way Foundation commenced litigation on behalf of several Loudoun County residents and members of a nonprofit organization, claiming the policy violates the right to free speech under the First Amendment. The suit was predicated on the theory that the policy is unnecessarily restrictive, because it treats adults and children similarly, and precludes access to legitimate as well as pornographic material. On November 23, 1998, Judge Leonie Brinkema declared that the highly restrictive Loudoun County Internet policy was invalid under the free speech provisions of the First Amendment.
United States, et al. v. American Library Association, Inc. et al., 539 U.S. 194, 123 S.Ct. 2297, 156 L.Ed.2d 221 (2003): The Supreme Court upheld the Children's Internet Protection Act, which requires libraries receiving federal funds for Internet access to install filters so that both adult and child patrons cannot access materials considered obscene, child pornography, or "harmful to minors." Chief Justice Rehnquist announced the judgment of the court that the law, on its face, is Constitutional. Speaking for a plurality of four justices, Rehnquist held that CIPA was a valid exercise of Congress' spending power and did not impose an unconstitutional condition on public libraries that received federal assistance for Internet access because Congress could reasonably impose limitations on its Internet assistance, and because any concerns over filtering software's alleged tendency to erroneously "overblock" access to constitutionally protected speech were dispelled by the ease with which library patrons could have the filtering software disabled. Justices Kennedy and Breyer concurred with the judgment, holding that CIPA, while raising First Amendment concerns, did not violate the First Amendment as long as adult library users could request that the Internet filter be disabled without delay.
Related Court Cases
Kathleen R. v. City of Livermore is a complaint filed by the mother of a 12-year-old who allegedly used public library Internet access to download and distribute sexually explicit materials. The case was settled in favor of the library. See Kathleen R.
U.S. Supreme Court Links
The Supreme Court of the United States Home Page
The Federal Judiciary Home Page
Oyez Oyez Oyez, Northwestern University
Supreme Court Decisions, Findlaw
Findlaw First Amendment Annotations Expanded
See also U.S. Constitution: First Amendment Annotations from FindLaw
Assistance and Consultation
The staff of the Office for Intellectual Freedom is available to answer questions or provide assistance to librarians, trustees, educators and the public about the First Amendment. Inquiries can be directed via email to oif@ala.org or via phone at (312) 280-4226.
Updated May 2017
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Review: “The Taming Of The Shrew” at the Shakespeare Theatre Company — OnStage Blog
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Christian Jost OnStage D.C./Los Angeles Critic WASHINGTON DC - There’s nothing I love more than non-traditional Shakespeare and this production was exactly that. Non-traditional. This Production, directed by Ed Sylvanus Iskandar, was set in mid-20th century Europe at its height of fashion. Th
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This show is traditional to Shakespeare in one sense: All the actors were male. They weren’t males being portrayed in “drag” however, they were just men playing females, and convincingly. So convincingly, I might add, that many people around me were shocked when they realized Bianca was played by a man (the very talented Oliver Thornton). The director’s reasoning behind this casting choice was very honest and sincere. It boiled down to this: The Taming of the Shrew is viewed as very sexist and misogynistic these days, and justifiably so. This director states that is would be “monstrous” to ask a women to perform Kate’s role and her last speech specifically, in today’s world. The all-male cast is a true look at identity in this work, not gender. It is also very interesting that the Public Theatre in NYC is mounting an all-female production of this show and I can only imagine that the reasoning is similar and the effect will be just as powerful. As Iskandar put it “maybe this play can only be produced this way now”. There are five main aspects of the show I would like to focus on that really made this play something spectacular.
Diversity
This show had just about every skin tone you could think of (the way a show should be). Starting with Katherina, played beautifully by 30 Rock’s Maulik Pancholy who is of Indian decent. Although Kate’s sister is white and Kate has a much darker complexion, I never once felt like they weren’t sisters. I believed it all the way. Their father Baptista, played by Bernard White also had a darker complexion that fit the character and the setting. You also had Tony nominee André De Shields who played several parts throughout the show, including Vincentio who plays Lucentio’s father. Like before, I 100% believed he was Lucentio’s father even though Vincentio was African-American and Lucentio was of Asian descent. Throw in several people with English accents like Peter Gadiot who played Petrucchio, who reminded me of Kit Harington from Game of Thrones, and you’ve got a brilliantly diverse cast of talented performers who played their roles both well and convincingly.
Costumes
The costumes for this show, helmed by Loren Shaw, were simply fantastic. As I stated earlier, the show was set in 1950’s Italy where fashion and fashion magazines were very popular. The play suggested that Baptista made his fortune by having his own fashion magazine that Bianca modeled for. That being said, the house of Minola had to have elegant costumes and it did indeed. Baptista sported a golden outfit for the majority of the show that showed his social status immediately. Bianca wore mainly pink throughout the show, solidifying her character as “a perfect lady”. All the suitors were also upper class so they all sported top notch clothing, from fur capes, to gold chains, to fine denim, to long formal jackets. Kate also had an amazing wedding gown, not to mention the excellent job the costumers did with Kate and Petruchio’s “peasant” costumes after they leave the wedding which is quite the contrast from the other characters. In a nice homage to classic Shakespeare many characters at one point or another wore costumes that while seemingly modern, also incorporated codpieces. I confess my favorite pieces were the red jackets that Petruchio and eventually Kate show off in the last scene of the show that suggested a phoenix design.
Subtlety
I could write here all day about the acting in this show and how each line was given with elegance and eloquence but I don’t have the time. The true acting glory in this show were the subtle things (looks, gestures, etc.) Now as I’ve said before I can’t give credit to the director or the actors when it comes to subtlety because it could have been blocked that way or it could have been a character choice from the actor. Either way greatness was achieved. Before I talk about the subtle things I must fill you in on some things. This show added two romances that aren’t usually present in the show, without adding any dialogue to the original play. I’ll talk about how in a bit. They added a one-sided romance from Tranio, Lucentio’s man-servant, towards Lucentio, and they also added a seemingly two-sided romance between Bianca and Biondello, a poor local hired man working with Lucentio. This matters because some of the best acting in this show was on the faces of Tranio (played by Matthew Russel) and Biondello (played by Drew Foster) when Bianca’s marriage to Lucentio was solidified. The looks of just sheer heartbreak and loss was enough to crush anybody’s spirit. André De Shields and Tom Story (playing Hortensio) also had their fair share of great moments, especially when it came to interacting with Kate. Great subtle things also contributed to the solid performance of Petruchio who would do things like pick his toes, shove food in his mouth and so on to make it clear he was a nobleman in name only. A great performance was also given by Gregory Linington as Grumio, who appeared be the most perfected Shakespearean actor on stage. I’ll disclose that my favorite bit of subtle acting was this look on Kate’s face on her wedding day, a look of absolute regret and fear that sticks with audience well after the curtain call has ended.
Music
As I stated above this could have just as easily been considered a musical as opposed to a play. I like to consider it a happy middle ground. This show used musical number to do so much, the opening number set the theme for the show, they had numbers that expressed characterization, secret desires, and everything in between. Just about all music came from Duncan Sheik, a composer most known for the Tony-nominated, Spring Awakening. You could tell instantly the music came from the creator of Spring Awakening, because most of it had that teenage angst vibe to it as well as great romantic numbers. These were contemporary songs that seemed to flow flawlessly into the words Shakespeare provided us. It made the plot and the characters so much stronger and it was more understandable/enjoyable to the audience. Some of the more impressive musical numbers were “Shine Inside” where the audience learns of Tranio’s secret love for his master, “Mouth on Fire” which is sung by the ensemble as Petruchio tames his shrew, and the closing number “The End of the Outside” which left a bittersweet taste in the audience’s mouth and left us wondering if this really was one of Shakespeare’s comedy’s we had just watched. The strongest Vocalists were Telly Leung (playing Lucentio) and Drew Foster who were just brilliant. Also, with any musical number there is choreography, so kudos to Chase Brock on the good work there.
Audience Interaction
This aspect of the show was like nothing I had ever seen, heard of, or experienced before. It started out when you first got the Theatre and there were merchants as well as actors from the production who talk with you and encouraged pictures. They sang, drank, and laughed throughout the theatre which made you care about these characters before the curtain even went up because you just danced and sang with them in the lobby! They also made a point to block scenes throughout the audience periodically so we felt included. I was in the front row so they interacted with me more than most, and it made me feel very special and invested into this production. The most interesting and creative thing happened at intermission. Right before intermission there was the marriage of Kate. Intermission was the reception of the wedding on stage. So the audience was invited on stage to drink and mingle with the cast for twenty minutes, all the while the cast was still in character and performing musical numbers. They served wedding cake and wine, to over age patrons of course, and there was also some interesting character development happening if you were paying attention that I won’t spoil for you. The cast also greeted the audience in the lobby after the show was over and talked and took pictures and it was such a great time for all.
So in conclusion I recommend this show to anyone and everyone. It is an important look into society not only back then but also how society is moving forward. There isn’t a weak actor in the bunch or a weak vocalist, and you’ll never feel more involved or attached in another production the way this The Taming of the Shrew will makes you feel. This production is on till June 26th and tickets can be bought online (http://www.shakespearetheatre.org/) or you can call 202.547.1122. Please do yourselves a favor and see this show before it’s too late!
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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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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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Actors
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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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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:
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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).
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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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Stanley Arts provides a home to the brightest & best of South London’s artistic community; giving them a place to work, create & dream. Explore our Stanley Family.
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BirdGang Ltd
BirdGang Ltd are an award-winning Hip Hop Theatre company with a global reputation. Founded by Simeon Qsyea, Kendra Horsburgh and Ukweli Roach, they are a collective of movement architects, bringing their spirit, craft and live experience to brands, audiences and pupils around the world. Former associate dance company to the Young Vic, and now resident at Stanley Arts, their work includes Vicycle (World tour), The Aviary (Sri Lanka, San Francisco Hip Hop Festival, The Network (Luxembourg, San Francisco), A Vice in Harlem (Harare International Festival of the Arts 2015); A Harlem Dream (The Young Vic) and Street Dance 3D 1 and 2 the Movie (UK, India). Directly funded by ACE, Stanley Arts, Breakin’ Convention, The British Council, The Young Vic and Croydon Council.
BirdGang Ltd teach Hip Hop to a growing number of young people and through their dance classes and commercial work they support young professionals as well as dance lovers and followers, providing exercise, culture and education.
Since 2019 Birdgang have been resident artists at Stanley Arts bringing their combination of dance, education, film making, and movement architecture to a range of new projects currently in development – including a new piece for Stanley Arts’ upcoming Freedom of Movement Festival.
#BGLTDproduction #BGLTDcommercial #BGLTDeducation #BGLTDfilm
www.Birdgangltd.com @birdgangltd
Boundless Theatre
Boundless Theatre champion creative work for and by young people aged 15-25 years old across the UK. Our vision is for a world where all young adults harness their creativity to lead culture. We create exhilarating, relevant new plays and community projects with and for young audiences and curious others, touring across the UK and internationally.
Theatre for a boundless generation.
Our online community ‘The Boundless Drama Club’ is for anyone aged 15-25 years old starting out in theatre: access creative opportunities, workshops and advice in a diverse community. With this free online mailing list, you’ll have access to high quality creative resources, challenges and masterclasses, mentoring and real time connections to peers and the Boundless team. If you’re starting out, start with us.
If you want to learn more about Boundless’ work then visit our website at www.boundlesstheatre.org.uk or email our Executive Producer, Adele at Adele@boundlesstheatre.org.uk
Website: www.boundlesstheatre.org.uk
Boundless Drama Club: https://boundlesstheatre.org.uk/projects/boundless-drama-club/
Twitter: @boundlessabound
Instagram: @BoundlessaBound
Cherry Stars
Cherrystars are an award winning, community performing arts school. Their team consist of BRIT School alumni and professional television and theatre actors who specialise in teaching innovative performing arts classes to the early years.
The core values at Cherrystars are Communication, Creativity, Confidence Building and Community. They have taken great pride over the last decade, to have provided a safe, nurturing and affirming place in the local community for young children to unleash their creativity and develop a love of the arts.
cherrystars.co.uk
Queer Croydon
Queer Croydon – a one-stop shop for South London & Croydon’s queer events, news, and services.
Who are Queer Croydon?
Queer Croydon was launched as part of Croydon’s year as London Borough of Culture; with lots of help from our friends at Stanley Arts and Their Majesties.
We are an open platform for queer stories & events from Croydon and South London, sharing content across our website and social channels. We are also going to be producing our own Queer Croydon live events, showcasing the very best of local queer talent.
Queer Croydon is brought to you by a voluntary collective of queer artists and activists who make up the Queer Arts Advisory Group.
To find out more:
www.queercroydon.com
@queercroydon on FB/Instagram/X/ TikTok
Croydon Brass
Croydon Brass was originally formed as the Croydon Temperance Silver Band in 1911. The band is a friendly, diverse and enthusiastic group of players based at Stanley Arts in South Norwood. They perform at a variety of events in and around Croydon, as well as further afield.
The band’s Musical Director Paula Goodwin is also currently the associate conductor of the All Saints Concert Band.
croydonbrass.org.uk
Clare Haward
Acclaimed artist Clare Haward‘s work appears in galleries around the country and in many private collections. She regularly exhibits in national shows and competitions.
Her quixotic approach to painting confounded the presenters on the recent Sky Landscape Artist of the year for which she was selected. Her approach is rigorous and sensual, sensitive to colour and composition, edge and tone. Clare is acutely aesthetic with an exquisite colour sense and best of all she’s a fine communicator.
clarehaward.co.uk
Gareth Brookes
Gareth Brookes is a graphic novelist, printmaker and embroiderer who studied at the RCA. He uses unusual materials such as crayons, textiles and pressed flowers to make his graphic novels which include The Dancing Plague (2021, SelfMadeHero) A Thousand Coloured Castles (2017, Myriad Editions) and The Black Project (2013, Myriad Editions).
In 2018 the French edition of The Black Project was nominated in the Sélection Officielle at the Festival de la Bande Dessinée in Angoulême.
His work has appeared in exhibitions including Comics Unmasked at the British Library, the Storytelling Cities project in Seoul, South Korea, and two solo shows in London at the 155a Gallery and the WAR Gallery.
He is currently studying for a PhD at UAL.
gbrookes.com
3 Restorers
3 Restorers are a boutique workshop offering a furniture restoration & repair service to London and surrounding areas.
Whether you’re looking to revive an inherited chair with sentimental value, conserve a cherished antique chest of drawers, refurbish that (almost) perfect, mid century table you’ve just won on eBay or you simply wish to repair rather than replace in order to be environmentally responsible – they can help.
3restorers.com
Spiritual Tiik
NATURAL EMPATH, REIKI MASTER TEACHER, TRANSFORMATIONAL SPEAKER & COACH, THETA PRACTITIONER, AUTHOR, ENTREPRENEUR, AND RISNG GALACTIC STARSEED INCARNATED TO SUPPORT INDIVIDUALS TO INGITE THEIR TRUE POWER AND REDISCOVER THEIR PURPOSE.
Spiritual Tiik is a natural empath, reiki master teacher, transformational speaker & coach, theta practitioner, author, entrepreneur and rising galactic starseed incarnated to support individual to ignite their true power and rediscover their purpose. She has impacted millions of people around the world through her inspirational content across all of her social media platforms. Tiik has over two decades of experience, however, her mom would say she came out the womb ready to support individuals to rediscover their truths through cultivating change in their mental physical & energy bodies.
Spiritual Tiik is an entrepreneur launching creating brands such as Wonderfully Weird, a world wide initiative to encourage beautiful vessels to live their life authentically. She is the facilitator of life changing virtual and physical retreats for both the divine feminine and masculine encouraging individual awareness to energy to promote self healing. She supports regular mindfulness through her online workshops and classes such as Vibrate With Tiik and The New Moon Circle. Tiik intuitively creates bespoke plans to work with individuals through combining her natural awareness as an empath in conjunction with spiritual modalities utilising the teaching of Reiki, Theta Healing, Sound Therapy, Magnetic Therapy and Crystal Therapy.
“Eye am You, You Am Eye, We Are One.” Spiritual Tiik
Find out more: www.spiritualtiik.com/elevation
Good Wolf People
Good Wolf use drama and theatre to support people to learn, express themselves, be a community, be creative, and experience joy.
Kelly Ng, John Handscombe, Jo Vyvyan & Krzysia Balinska make up the team behind Good Wolf, combining their experience in Youth & Community Work, Applied Theatre, Writing and Directing.
Most recently they have been delivering online community projects, creating audio plays, and supporting young people to be connected and enjoy drama. They also provide external evaluation to arts and youth organisations.
goodwolfpeople.co.uk
Rosie Bright
Rosie specialises in the conservation and restoration of decorative surfaces (historic buildings) and furniture. She splits her time between working on site in some of the country’s most prestigious buildings and her workshop here at Stanley Arts, where she continues to carry out repairs on a diverse range of objects from polychrome sculpture to antique furniture.
Recently Rosie has been using some of her spare time to start the restoration of some of the tiles surfaces in the main Stanley Hall. Her work is slowly exposing the original grandeur of the space hidden behind layers of thick oil-based paint.
linkedin.com/in/rosie-bright-653683b
Undiscovered Talent UK
MORE THAN JUST A TALENT COMPETITION!
Undiscovered Talent UK is a platform for upcoming talent which gives hope to creative people to dream big and continue to pursue their greatness. Founded in 2019 by a creative individual named Ronell Coward, who has a passion, focus and simply loves the entertainment industry. Anyone, any age can get involved with our platform features which involves magazine, blogs, interviews, music, reviews, feedback, social media promotion and perform at our events and competitions online and live.
There’s a lot of Talent in the UK so why not create a platform for performers, acts, artists and creatives to take the stage and shine. We plan to take the show all over the UK and Worldwide to find Undiscovered Talent in many cities and countries. So watch out you big T.V shows, UTUK is right behind you.
#UndiscoveredTalentUK
Instagram – @undiscovered_talent_uk
Facebook – Undiscovered Talent UK
YouTube – Undiscovered Talent UK
Twitter – @UTUK_TALENT
Website
www.undiscoveredtalentuk.com
Vinyl Sign Studio
Vinyl Sign Studio is a family run business that offers multiple graphics and signage solutions for retail, offices, events & exhibitions, independent traders and more. Its founder, Walter Forero, has a family history of graphic designers, printers and sign makers and cumulates over 20 years’ experience within the graphics and sign making industries.
As professional London sign makers, Walter and his team know what a tight deadline means and can offer fast turnaround when needed. Whether you are looking for a new front sign for your shop, a large-scale branding for your building or a vinyl lettering for your vehicle, they can help your business stand out from the crowd through personalised, functional and visually appealing signage. Their main workshop is located in London Bridge and they recently opened another workshop here in Stanley Halls to respond to the increase in demand in the South London community.
www.vinylsignstudio.com
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https://www.nybooks.com/articles/2024/02/08/the-bernstein-enigma-maestro/
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The Bernstein Enigma | Philip Clark
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"PHILIP CLARK"
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2024-02-08T00:00:00
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The door of his dressing room opened and I was about to say something to Leonard Bernstein, though I had no idea what. I was fourteen years old, a nervy
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https://www.nybooks.com/wp-content/themes/nyrb_2020/img/favicon.ico
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The New York Review of Books
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https://www.nybooks.com/articles/2024/02/08/the-bernstein-enigma-maestro/
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The door of his dressing room opened and I was about to say something to Leonard Bernstein, though I had no idea what. I was fourteen years old, a nervy kid from the sticks with embarrassing eyeglasses, but Bernstein’s smile, as he inched his way through the assembled crowd, radiated reassurance. Next thing I knew I was gripped inside a Lenny hug and a question began formulating in my mind, as if he was squeezing it out of me. I loved the record he’d made in 1976 of the jazz-powered ballet La Création du monde and found myself asking him about its composer: “Do you still perform Darius Milhaud?” Bernstein gazed deep into my eyes, raised his hand toward his mouth as he corrected my pronunciation of Milhaud’s name, and asked, “You like M. Milhaud’s music?” I nodded enthusiastically. Then a grin and a compliment: “You’ve got great taste, kid.”
I’ve replayed that encounter, in 1986 at London’s Barbican Centre, in my mind countless times. A BBC documentary filmed two years earlier, shadowing Bernstein as he recorded his musical West Side Story, had rocked my world. I already adored jazz and had immersed myself in modern music of various kinds, and here was a magician with the ability to pour everything I liked—from Igor Stravinsky to Duke Ellington—into the same composition. My time with Bernstein lasted no more than fifteen seconds, but I left that night determined that music would be my life. My older cousin Maria, who accompanied me to the concert, remembers vividly the sheer glamour of the occasion: Bernstein draped in a dressing gown, with a glass of whiskey in one hand and a cigarette holder in the other, surrounded by minders and aides, looking like the embodiment of pure showbiz.
Anybody hoping that Bradley Cooper’s Maestro might provide answers to the central Bernstein enigma—how his populist Broadway instincts fit together with the man who taught generations of Americans about classical music, from Bach to Ives—will likely leave the cinema disappointed. Cooper’s adenoidal delivery of his lines will make you wonder if the maestro suffered a lifelong nasal drip, but he excels at looking like Bernstein, until he attempts to conduct. He has spoken of his film as a love story, and its focus is almost entirely on the complexities of Bernstein’s marriage: the attempts he made to reconcile a sincere devotion to his wife, Felicia Montealegre, and their three children with his attraction to—and brief flirtations and full-on affairs with—men. Carey Mulligan steals the limelight as Felicia.
Netflix was never likely to green-light a film whose hook was the story of Bernstein the musician: Lenny the showman is readily understood; the stylistic labors of a composer caught between tradition and advance are not. Questions about how Bernstein had the chutzpah to imagine one piece I heard at the Barbican, his symphony The Age of Anxiety, in which compositional techniques borrowed from Arnold Schoenberg and Stravinsky smash into big-band exuberance reminiscent of Count Basie, or how he reinvented the fundamentals of American music theater in West Side Story, are therefore never broached.
A few basic facts set Maestro rolling. Bernstein makes his legendary debut with the New York Philharmonic in 1943, filling in for a flu-ridden Bruno Walter, but the particulars that lead him to becoming the orchestra’s music director in 1958 are all but ignored. In a head-scratching scene near the film’s beginning, Lenny discusses his new ballet Fancy Free—written in 1944—with Felicia and concludes that he won’t be taken seriously as a musician because this music “isn’t serious.” Fancy Free might have been rooted in swing-era jazz and early Broadway, but the sheer compositional élan with which he transformed those sources, adopting polytonality and tricks of melodic development from Stravinsky, was deadly serious—as the real Bernstein would no doubt have been the first to remind anyone who asked.
Later, during an eerily precise recreation of a 1955 interview in which Lenny and Felicia in their apartment field questions from Edward R. Murrow in a television studio, the issue emerges of the tension between Bernstein’s existence as a conductor basking in public adoration and the private life of a composer with only pencil, manuscript paper, and piano for company. Cooper’s Bernstein momentarily loses his breezy confidence as he is forced to ponder this inner life lurking behind the public exterior. In the real interview the tension was about music, although we’re under no doubt that the Bernstein of the film is thinking about his personal life.
Maestro’s narrow focus on the personal has the unfortunate, and presumably unintended, effect of skewing the unique breadth of Bernstein’s achievements as a musician. Professionally he worked with Glenn Gould and Maria Callas, John Cage and Louis Armstrong, Karlheinz Stockhausen and Kiri Te Kanawa, Elliott Carter and Stephen Sondheim, Stravinsky and Dmitri Shostakovich, who ought to have been allowed to flood the film with personality and color while posing the essential question: Who else could crash musical boundaries like Bernstein? Aaron Copland (played by Brian Klugman) appears because he was Bernstein’s mentor. David Oppenheim (Matt Bomer), a clarinetist and subsequent executive at Columbia Records, appears because of his romantic entanglement with Bernstein. But the film says nothing about how Copland’s inclination to perch compositions between the “serious” and the “popular” rubbed off on his young charge, while Oppenheim, barely a footnote in the story of American music, seems an oddly inconsequential figure on which to peg so much of the film’s emotional arc, especially given the characters we could, should, be watching interact with Lenny.
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Head-spinning cultural overlaps embraced by the real-life Bernstein, which he regarded as essential to the life of a musician, are hardly difficult to find. I’m imagining a dramatic sequence—not in the film—of Bernstein’s attempt, on February 9, 1964, to lead the musicians of the New York Philharmonic through John Cage’s chance operations–based Atlas Eclipticalis, which ended with him quelling a mutiny as the musicians began ridiculing Cage onstage. What human drama! That scene, in my film, would be followed by a jump cut to a year later, to a famous photograph brought to life of Bernstein, fingers jammed firmly in his ears, at a Beatles concert.
Then the camera would pan to a young woman, Ruth Selman, who, in the same year Bernstein had his brush with the Beatles, wrote to him to register her displeasure at the appearance of the twelve-tone composer Anton Webern’s Symphony, op. 21 at a Philharmonic concert, paired with Mahler’s Seventh Symphony. My camera would follow Bernstein’s words as he typed his reply: “It is the duty of any Symphony Orchestra—particularly that of a cultural capital like New York—to keep its audiences abreast of main currents of 20th century music.” And then he pointed out that the Webern symphony, four decades old, was a mere eight minutes long, and there would be big trouble ahead indeed if even this piece—“already a classic”—could not find acceptance on a Philharmonic program.
He might have explained, but didn’t, that Webern’s music was a distillation of Mahler’s expressive and gestural largesse and that his program had been designed to plot a trajectory between Mahler and the emergence of twelve-tone music, spearheaded by Schoenberg, Webern’s teacher. But we see that his attention is instead distracted by a letter in his pile of correspondence from Barbra Streisand, whose latest album, My Name Is Barbra, took its title from a song in Bernstein’s song cycle I Hate Music, and was recorded only a few months before Bernstein began thinking through his program of Webern shaking hands with Mahler.
Another possible sequence: Bernstein leads the premiere of Elliott Carter’s dazzlingly labyrinthine Concerto for Orchestra in February 1970, becomes caught up in a scandal after Felicia hosts a fund-raising party for the Black Panthers at their apartment, then jets off to conduct a performance of Verdi’s Requiem at St. Paul’s Cathedral in London, featuring Plácido Domingo. Cage, the Beatles, Webern, Mahler, Streisand, Carter, Domingo, Black Power politics—these are the type of cultural juxtapositions that take you to the essence of Bernstein.
The absence of any reflections in the film on his politics came as a genuine surprise. After having his passport revoked in 1953, Bernstein was stalked by J. Edgar Hoover’s FBI for three decades. The Black Panther incident—gleefully satirized in Tom Wolfe’s essay “Radical Chic”—has often been used to batter the Bernsteins, and here was an opportunity to correct the record. (In short, according to the account on the official Bernstein website, the party was organized by Felicia, and Lenny arrived late after finishing a rehearsal of Beethoven’s Fidelio. Black Panther members had been held in jail for nine months without trial. There were widespread concerns at the time over civil liberties.)
But that assumes levels of complexity Maestro proves unwilling to countenance. Motion pictures are no place for musical analysis, but onscreen Lenny is wretchedly one-dimensional: no meaningful connection is made between his tortured personal life and his music-making. He desperately needed to be loved—“I love people” is a mantra repeated throughout the film—but he also craved relevance, which landed him in the middle of an artistic and aesthetic crisis. His reply to Ruth Selman stops me dead in my tracks whenever I come across it. Bernstein might have hankered after adoration but was not beyond telling an audience member to, essentially, suck it up and listen harder.
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Opting to couch his rebuttal in terms of performing Webern as a “duty” could be read as implicit agreement that Bernstein, too, would rather have been conducting George Gershwin or Samuel Barber, not this austere, angsty music by a composer—with Nazi sympathies besides—whose work felt so obviously out of step with the pizzazz of 1960s New York. Atlas Eclipticalis blew up in his face because the concept behind Cage’s score required Bernstein’s musicians to learn stretches of fearsomely demanding music that, to their despair, they realized might or might not be heard by the audience, depending on whether individual contact microphones, controlled by chance procedures, were switched on or off. He could have made life easy for himself by programming the accessible new music—by Copland, Virgil Thomson, or Benjamin Britten—with which he had such affinity and which he performed so brilliantly. Or by programming no new music at all. Yet he doggedly went out on a limb, filling his concerts with music by composers considered awkward modernists, such as Edgard Varèse, Pierre Boulez, György Ligeti, Iannis Xenakis, and Morton Feldman.
Bernstein’s teacher, the eminent Russian émigré conductor Serge Koussevitzky, who was music director of the Boston Symphony Orchestra from 1924 to 1949 and appears only briefly in Maestro, had been an inveterate commissioner of new compositions, from major figures like Stravinsky, Bartók, Hindemith, and Messiaen, and became the model for how to mix and match the old and the new. Old certainties and the speculative new also characterized many of Bernstein’s 1960s programs. Feeling that he understood the instincts of his orchestra intuitively, in 1964 he pursued that speculative new to its logical end point by recording a free improvisation with the New York Philharmonic that appeared on an LP alongside music by Ligeti, Feldman, and the Improvisations for Orchestra and Jazz Soloists by Larry Austin, which pitched take-no-prisoners free jazz improvisers—Don Ellis (trumpet), Barre Phillips (bass), Joe Cocuzzo (drums)—against the orchestra. That same year Bernstein brought free jazz to a Young People’s Concert with Journey into Jazz by Gunther Schuller, a piece he described as a “sort of Peter and the Wolf of jazz,” again involving Ellis and Cocuzzo, and also Eric Dolphy, the visionary alto saxophonist, flutist, and bass clarinetist who was at the time working with John Coltrane and Charles Mingus.
Bernstein’s love of jazz manifested itself most visibly in the recordings he made with some of its brightest stars, including Louis Armstrong, Benny Goodman, and Dave Brubeck; Billie Holiday recorded his song “Big Stuff.” But his engagement with jazz ran far deeper than is widely appreciated. Proclaiming Ornette Coleman as the future while many jazz critics were still struggling to grasp Coltrane, Bernstein actively sought out the inscrutable pianist and composer Lennie Tristano, visiting his apartment to play piano and have long conversations about music into the night. Bernstein told Tristano’s alto saxophonist of choice, Lee Konitz, that the elegant, snaking melodic lines in “Cool” from West Side Story had been inspired by Konitz’s own improvisational wizardry. Having brought jazz to his Young People’s Concerts, Bernstein also embraced pop, using the latest hit records by the Kinks and the Beatles to demonstrate musical modes and scales.
Simultaneously with all this activity, he carried on with the duties of an orchestral artistic director: illuminating Bach, Mozart, Beethoven, and Brahms anew, performing Handel’s Messiah at Christmas, continuing his work of proselytizing on behalf of symphonies by Mahler and Carl Nielsen—mainstream figures today, niche concerns in mid-1960s America. But Bernstein’s commitment to modern composition, while never the life mission that it was for his eventual successor at the Philharmonic, Pierre Boulez, was clear. No doubt he disliked some of the new music he conducted, some of it intensely, although any new piece was given the full attention to detail he would lavish on a Mahler symphony. He was also proactive, seeking out scores by the experimental English composer Cornelius Cardew, and he clearly found much to stimulate his ears and intellect in music by Ligeti and other composers he programmed, such as Lukas Foss, Roberto Gerhard, Hans Werner Henze, and Henry Brant. Bernstein realized that his job in New York was, sometimes, to park his own taste and play music that spoke to wider cultural concerns.
Why his engagement with modern composition has been so regularly misunderstood or simply ignored is therefore a fair question, and the first person who must be hauled over the coals for mispresenting Bernstein and modern music is Bernstein himself. In interviews, in his writings, and at considerable length as he delivered the Norton Lectures at Harvard in 1973, he spoke up unambiguously in favor of tonality, the key-based system of organizing composition that had held firm for four hundred years or so, until Wagner, Mahler, Debussy, and Schoenberg tipped it toward fragmentation. The implication hung heavy that being pro-tonal meant you were duty-bound to be against Schoenbergian atonality and everything that had resulted from it. This meant that much of the new music—Carter, Boulez, Ligeti—Bernstein had championed on the podium was by definition suspect. What is less often admitted, however, is that many lesser composers, who were wedded to old-school tonality and couldn’t do anything else, used antipathy toward twelve-tone music as a means of self-justification.
But how Bernstein told it and how he, as a composer, actually dealt with the specter of atonality, when Stravinskyan overhauls of jazz harmony as in Fancy Free were suddenly perceived as old hat, turned out to be two notably different things. Between 1964 and 1965 he took a twelve-month sabbatical from his Philharmonic duties to compose what looked on paper to be a certain success: a musical based on Thornton Wilder’s The Skin of Our Teeth, which reunited him with Betty Comden and Adolph Green, who had written the book and lyrics for On the Town, and Jerome Robbins, who had conceived, directed, and choreographed West Side Story. But Bernstein quickly became stuck and turned his attention instead to a commission from Chichester Cathedral in Sussex, England, for a piece to be performed at its 1965 summer music festival. Looking back in 1977, Bernstein spoke of his Chichester Psalms as “the most accessible, B-flat majorish tonal piece I’ve ever written” and, in confessional mode, added that most of his sabbatical year had been squandered “writing 12-tone music and even more experimental stuff. I was happy that all these new sounds were coming out; but after about six months of work I threw it all away. It just wasn’t my music.”
After he tried denying himself the fulfillment of tonal resolutions, Chichester Psalms became compulsively tonal, an affirmative and optimistic oasis of calm between the two milestone works that surrounded it in his output: Symphony No. 3, Kaddish and Mass, both marinated in turbulence that was spelled out musically as Bernstein apparently baited tonal certainty using atonality and other techniques borrowed from the experimental music he had conducted. The British conductor and composer Oliver Knussen, remembering Bernstein after his death in a BBC documentary, came closer than most to pinpointing how his idea of tonality actually operated: “He was a very experimental figure, not maybe in terms of the notes he wrote down, but in terms of the concepts.”
Kaddish and Mass were surely foremost in Knussen’s mind when he also noted that these conceptual risks were rooted in Bernstein’s “extraordinary performer’s self-confidence”: he knew how to make even the most unlikely concept spring to life onstage. The twelve-tone and experimental ideas with which he had toyed during his sabbatical likely related to a never-completed piano concerto project announced in The New York Times, not the abandoned Skin of Our Teeth, melodic strains of which ended up slotting seamlessly into Chichester Psalms. But Kaddish as a point of departure for further experimental exploration feels perfectly plausible. Mostly finished before the Kennedy assassination in 1963, revised in its aftermath, then dedicated to the memory of JFK, the piece thrashed out a crisis of religious faith, using musical material to model it.
Marin Alsop—one of Bernstein’s best-known former conducting students—told me in an interview shortly after she recorded the piece in 2012:
The journey of this symphony from atonality towards tonality symbolized a huge issue for Bernstein. He endured stinging criticism for writing tonal music, and in this piece atonality represented crisis, an erosion of faith, while tonality symbolized unity and hope.
Felicia was the narrator on the first recording, in 1964, and Bernstein’s text—in which the narrator picks various fights with God—has tended to attract more commentary than the audacious music, none of it favorable. But his lyrical instincts, pockmarked by the ugliness of recent events, carry a narration that was never designed to stand on its own and embodies the idea in Judaism that faith is not a given: one could argue with the Almighty, blaspheme even. There are passages of unbarred material, inside which quasi-Cageian chance procedures shuffle the harmonic pack, as apocalyptic percussion cadenzas plucked directly from Messiaen or Carter keep unraveling the atonal networks Bernstein unleashes. Finally, increasingly insistent tonal patterns take flight, and the piece hurtles toward resolving around pure G major—the struggle to get there refreshing its appearance, a familiar marker arrived at via a previously untraveled route.
Bernstein thought that one had to fight to be a tonal composer in the 1960s and 1970s, and he was determined to lead the charge. Atonality might have come to represent crisis and an erosion of faith, but composers from Monteverdi and Bach onward had always found ways of molding harmony to symbolize crisis, suffering, and pain, and I wonder how many tonality-versus-atonality critiques rest on basic misunderstandings of musical function and, at the most lowly level, of tonality as always happy and beautiful, atonality always ugly and sad. As the final number of his music theater piece Candide, “Make Our Garden Grow,” attests, nobody could write uncomplicated affirmation like Bernstein, but tonality for him could never just be blind affirmation. Composition needed to express doubt and disorientation, too; affirmation sometimes needed to be tested against uncertainty—as Mahler, his greatest hero, had showed.
Even West Side Story, by far the most popular music he wrote, is underpinned by edgy harmonic ambiguity: its opening phrase, played by a decidedly Duke Ellington–like alto saxophone, is pegged around a tritone, the one tonal melodic interval that steps outside simple resolution, signaling that this musical will be exploring conflict and violence. Bernstein continued to press the case for tonality, then went his own way. He never took any interest, at least publicly, in the renewal of tonality by Philip Glass, Steve Reich, or John Adams. His final major orchestral work, the rather shambolic Concerto for Orchestra Jubilee Games, completed in 1989, proved defiantly tonal and experimental, the “games” in its first movement involving free improvisation, slabs of chance in which musicians chose their own pathways through free-hanging melodic threads, and short sequences recorded live that were to be dropped in over later sections of the music, crashing through the real-time performance.
This is where the plotlines in Maestro ought to coincide. Bernstein, plagued with doubt about the direction of music and society and about his sexuality, wrote tonal music but simply could not ignore the lessons of musical modernity; he was always pulled two ways at once. Bernstein, who aimed not just to perform Mahler but to make each symphony come alive onstage, was never happy to put well-used tonal patterns on paper when composing, either. Tonality must live, too. Often he was accused of borrowing remorselessly from Copland, Stravinsky, and Hindemith, from jazz, Latin music, and pop, but he also borrowed from Messiaen, Cage, and Carter. Bernstein’s music was largely about finding a tonality relevant to him and his time, and Maestro defaults too easily to the tortured artist stereotype, without any explanation of what exactly tortured him.
Presumably this is why the first performance of Mass, written for the inauguration of the John F. Kennedy Center for the Performing Arts in Washington, D.C., in 1971, becomes a mere plot device in the film to tell of Lenny and Felicia’s fragmenting relationship, after he takes up with “Tommy” (in reality, Tom Cothran, his assistant, whose extensive role in his life is soft-pedaled in a way David Oppenheim’s isn’t). This is frustrating because Mass, Bernstein’s great work of summation, is essential to understanding the man and his music. It splutters into existence with webs of prerecorded atonal fragments that boomerang around speakers dotted through the hall, before a brazenly tonal guitar chord initiates a song that sounds like pure Simon and Garfunkel or the Byrds. The piece sets up expectations of abrupt stylistic disconnect, after which all hell keeps breaking loose, as the 4/4 of marching bands and rock songs continues to topple over into the atonal abyss. Approaching the climax, the entire company is invited to improvise over a churning rock riff, then the opening tape music is layered over the top before musicians are encouraged to work “anything from the entire musical literature” into the resulting montage. Like Kaddish, the piece ends in the embrace of a tonal resolution, but only after tonality has been dragged through a discursive and disorientating journey.
Thirty-four years after his death, Bernstein’s name has become shorthand for an obsessive eclecticism, for chiseling away at assumptions about high art and popular culture, and for the unique gift he had for explaining thorny, sometimes esoteric music in simple terms; nobody informed, educated, and entertained like Lenny. Another word never far from any debate about him is “taste.” We’re told that his Mahler was overcooked and self-indulgent (actually it was highly disciplined and focused) and that pieces like Kaddish and Mass ultimately failed because he couldn’t control his outbreaks of questionable taste.
I think we need to look at that argument about Bernstein’s taste from the other direction. New classical music I hear today too often feels risk-averse and suffocated by narrow perceptions of good taste. Unafraid to park his own taste when programming concerts, in his music Bernstein pushed beyond what he already knew tonality could be in search of fresh expressive terrain, challenging his own taste as well as that of others. Tonality mattered too much to him to hear it reduced to generic, good-taste patterns pressing harmonic buttons that would guarantee a particular emotional response.
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2018-08-13T13:43:04+00:00
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Georgia Museum of Art
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en
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Georgia Museum of Art at the University of Georgia
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https://georgiamuseum.org/learn/publications/
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Georgia in Our Times: Modern Design and Contemporary Lens: The 11th Henry D. Green Symposium of the Decorative Arts
This volume includes the following papers delivered at the 11th Henry D. Green Symposium of the Decorative Arts, held August 5 and 6, 2022: “The Power of Black Hands: Honoring Black Craftspeople of the Southern Landscape,” by Torren L. Gatson and Tiffany Momon; “‘I learn a little something wherever I go!’: What Georgia’s Bill Gordy Learned and What He Left Behind While Making Pottery in North Carolina,” by Stephen C. Compton; “Mattie Lou O’Kelley: The Long Journey to Success,” by John Daniel Gilford; “William Spratling, the ‘Cellini of Taxco,’” by Joseph P. Brady; “Georgia’s Twentieth-Century Tufted Fashions,” by Ashley Callahan; “A Retired Woodworker’s Journey: A Twenty-First-Century Craftsman and American Period Furniture,” by Bill Markert; “Building Georgia’s Oldest” by Bill Markert; “Musings on the Salzburger Table,” by Dale L. Couch (these two republished with permission from American Period Furniture); “Studio Furniture: A Five-Piece Adventure,” by Abraham Tesser; “An Architect in the Garden: Thornton Marye,” by Stephen J. Goldfarb and Nicholas Langhart; “Cobbham’s Augusta Desk and Bookcase,” by William Dunn Wansley; and “The Accidental Collector,” by Jason Wech as well as a foreword by Annelies Mondi and acknowledgments by Dale L. Couch. Full-color illustrations throughout.
Publishing Date: January 2024
186 pages; $30 (softcover)
ISBN: 978-1-946657-15-2
Wealth and Beauty: Pier Francesco Foschi and Painting in Renaissance Florence
This is the first exhibition catalogue dedicated to Pier Francesco Foschi (1502 – 1567), a highly prolific and fashionable Florentine painter whose career spanned almost five decades. Despite his success during his life, he fell into nearly complete obscurity after his death. This volume offers a timely and critical reevaluation of this versatile and innovative Renaissance artist, featuring paintings and drawings by Foschi and his contemporaries along with decorative arts objects that provide insight into the world of wealthy 16th-century Florentines. It includes essays by Nelda Damiano, Pierre Daura Curator of European Art, Georgia Museum of Art, and the organizing curator for the exhibition; Simone Giordani, professor of art history at “Aurelio Saffi” Institute, Florence; David Franklin, curator with the Archive of Modern Conflict, Thomson Collection, Toronto and London, UK; and Elizabeth Currie, freelance lecturer and author specializing in the history of fashion and textiles. Each image in the exhibition is illustrated full page with numerous comparatives. Damiano, Giordano, Franklin, Currie, Philippe Costamagna, Dale L. Couch, Ian Hicks, Amanda Hilliam, Robert G. La France, Amanda Mikolic and Perri Lee Roberts.
Publishing Date: April 2023
240 pages; $50.00 (hardcover)
ISBN: 978-0-915977-581
Reckonings and Reconstructions: Southern Photography from the Do Good Fund
“Reckonings and Reconstructions” is a visual and textual investigation of southern photography since World War II. The book (co-published with the University of Georgia Press) and its partner exhibition present 125 color photographs from the Do Good Fund by a wide-ranging group of 77 photographers, diverse in gender, race, ethnicity and region. W. Ralph Eubanks addresses southern memory and the ethics of photography. Grace Elizabeth Hale considers the role of Athens, Georgia — with its vibrant community of photographers, renowned photography program at the University of Georgia and celebrated alternative art and music scene — within the history of southern photography. Essays by Jasmine Amussen, Rosalind Bentley, Lauren Henkin, Jeffrey Richmond-Moll, RaMell Ross and Jeff Whetstone examine expansive and internally paradoxical themes: land, labor, law and protest, migration, food, ritual and kin. Together, these themes link disparate works in the Do Good collection and capture southern history, culture and identity in all its complexity and contradictions. With the photographs as their backbone, these essays help construct and deconstruct each thematic category, resisting notions of the South as a retrograde region and instead presenting the ever-changing qualities of the place and its people. A region where despair and hope, terror and beauty, pain and joy, and trauma and dignity coexist and commingle. A place seeking reconciliation and restoration, captured by photographers with a vision of a “Better South.”
Publishing Date: September 2022
242 pages; $49.95 (hardcover)
ISBN: 978-1946657-14-5
Graphic Eloquence: American Modernism on Paper from the Collection of Michael T. Ricker
Accompanying an exhibition of the same name on view at the Georgia Museum of Art, University of Georgia, “Graphic Eloquence: American Modernism on Paper from the Collection of Michael T. Ricker” documents an expansive collection and a gift to the museum. American modernism in the visual arts has garnered sustained interest among scholars and general audiences in recent years, though typically with a focus on modernist painting. This exhibition and publication seek to expand that narrow emphasis, highlighting an array of techniques and a range of artists who explored modernism’s myriad forms through paper-based media. Artists working in modernist modes shared challenges regardless of location, and this volume brings out these commonalities as it focuses on regional centers that embraced and supported modernist trends. Unlike more exclusive accounts of modernist painting, the story of modernist works on paper provides a broader, more democratic view of American modernism that highlights the contributions of many lesser-known artists to this important twentieth-century history. The catalogue includes an introduction by curator of American art Jeffrey Richmond-Moll and an essay and catalogue entries by Michael T. Ricker and is thoroughly illustrated in color.
Publishing Date: March 2022
360 pages; $60 (hardcover)
ISBN: 978-1946657-13-8
Georgia Matters: Celebrating Two Decades of Scholarship: The 10th Henry D. Green Symposium of the Decorative Arts
This volume includes the following papers delivered at the 10th Henry D. Green Symposium of the Decorative Arts, held January 30-February 1, 2020: “Isabella C. Hamilton: An Artist of ‘Rare Talent,’” by Janice Miller; “Double Reading, Trouble Meaning: Masonic Symbolism in Visual Art,” by Alisa Luxenberg; “And He took the Cup: The Salzburger Chalice,” by Charlotte Crabtree; “Vessels of Merit: Georgia’s Silver Agricultural Premiums,” by Gary Albert; “Louise Rogers Green: The Other Atlanta China Painter,” by Lynda Bush; “Who Was John Stoney? A Charleston–Augusta Conundrum,” by Juliana Falk; “A Note on a Colonial Georgia Portrait of the Bullochs,” by Jeffrey Richmond-Moll; “A Georgia Portrait: Context and Narrative,” by Daniel Chamberlin; “Portrait of a Prince: The Life and Material World of a Connecticut Yankee in Antebellum Georgia,” by A. Nicholas Powers and “Two Is a Group!” by Dale L. Couch with Chason Todd Dean as well as a foreword by museum director William Underwood Eiland and acknowledgments by Dale L. Couch. Full-color illustrations throughout.
Publishing Date: January 2022
197 pages; $25 (softcover)
ISBN: 978-1-946657-12-1
Extra Ordinary: Magic, Mystery and Imagination in American Realism
“Extra Ordinary: Magic, Mystery and Imagination in American Realism” accompanies the exhibition of the same name, on view at the Georgia Museum of Art at the University of Georgia from February 27 through June 13, 2021. The exhibition and the publication seek to reexamine how we define magic realism and expand the canon of artists who worked within this category. It includes works by Ivan Albright, Paul Cadmus, Z. Vanessa Helder, Patsy Santo, Gertrude Abercrombie, Honoré Sharrer, Eldzier Cortor, Hughie Lee-Smith, Everett Spruce, Patrick Sullivan and many others. The catalogue includes essays by curator Jeffrey Richmond-Moll and scholar Philip Eliasoph and catalogue entries on every work in the show by scholars including Richmond-Moll, William U. Eiland (the museum’s director), David A. Lewis (professor of art history at Stephen F. Austin State University), Maurita N. Poole (director and curator at Clark Atlanta University Art Museum) and Akela Reason (associate professor of history and director of museum studies at the University of Georgia). It illustrates every work in the exhibition full page and in full color and includes many supplementary images.
252 pages; $50 (hardcover)
ISBN: 978-0915977-23-9
Publishing Date: February 2021
Emma Amos: Color Odyssey
“Emma Amos: Color Odyssey” accompanies the exhibition of the same name, on view at the Georgia Museum of Art at the University of Georgia from January 30 through April 25, 2021, before traveling to the Munson-Williams-Proctor Arts Institute from June 19 to September 12, 2021, and the Philadelphia Museum of Art from October 11, 2021, to January 2, 2022. Born in Atlanta, Georgia, Emma Amos (1937 – 2020) was a distinguished painter and printmaker. She is best known for her bold and colorful mixed-media paintings that create visual tapestries in which she examines the intersection of race, class, gender and privilege in both the art world and society at large. The catalogue includes essays by Shawnya Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art at the Georgia Museum of Art, the curator of the exhibition and the editor of the catalogue; Lisa Farrington of Howard University; artist LaToya Ruby Frazier; Laurel Garber, Park Family Assistant Curator of Prints and Drawings at the Philadelphia Museum of Art; artist Kay Walkingstick; and Phoebe Wolfskill, associate professor in the departments of American studies and African American and African Diaspora studies at Indiana University. It illustrates all 63 works in the exhibition full page and in full color and includes many supplementary images and photographs of the artist. 192 pages; $40 (hardcover) ISBN: 978-0915977-46-8 This book is out of print.
Publishing Date: January 2021
Modernism Foretold: The Nadler Collection of Late Antique Art from Egypt
“Modernism Foretold” accompanies the exhibition of the same name, on view at the Georgia Museum of Art at the University of Georgia from November 5, 2020, through September 26, 2021. Its extraordinary assembly of objects dating from the 3rd to the 8th century CE belongs to Emanuel and Anna Nadler of New York City and Palm Beach. The Nadler family has long been one of the most important collectors of Coptic art. Emanuel’s father, Maurice Nadler (1885–1941), a prominent industrialist from Alexandria who made art acquisitions in Egypt and Germany, originally put this collection together between 1920 and 1941.
Coptic art was made by and for native Egyptians, Greeks and Romans who favored both classical pagan and Christian themes. The exhibition includes more than 50 objects in marble, tapestry, bronze, bone, ivory, pottery and stone, which have not been seen by the public in nearly 40 years. Both it and the catalogue focus on the history of the collection and on changing perceptions of late antique art from Egypt, with extensive full-page, full-color illustrations and an essay by curator Asen Kirin.
208 pages; $60 (hardcover)
ISBN: 978-0915977-43-7
Publishing Date: November 2020
Master, Pupil, Follower: 16th- to 18th-Century Italian Works on Paper
This catalogue accompanied the exhibition of the same name, on view at and organized by the Georgia Museum of Art at the University of Georgia from December 21, 2019, to March 8, 2020. Co-curators Robert Randolf Coleman (professor emeritus of Renaissance and baroque art history, University of Notre Dame), Nelda Damiano (Pierre Daura Curator of European Art, Georgia Museum of Art) and Benedetta Spadaccini (Biblioteca Ambrosiana, Milano) contributed entries on each of the 32 works in the exhibition, all of which are illustrated full page and in color. Coleman provided an introductory essay and museum director William Underwood Eiland wrote both a preface and a brief essay on collector Giuliano Ceseri, from whose collection many of these works come.
Curators selected drawings and prints by artists including Giulio Benso, Giovanni Battista Tiepolo, Giovanni Benedetto Castiglione, Salvatore Rosa and followers of Veronese and Tintoretto to represent specific artistic styles and Italian regional schools, and the catalogue is organized by region. An examination of the drawings revealed some previously erroneous assumptions, resulting in new attributions in some cases. Drawings by Giulio Romano, Claudio Ridolfi, Palma il Giovane and Guercino are published here for the first time.
138 pages; $30 (softcover)
ISBN: 978-091597718-5
Publishing Date: August 2020
Belonging: Georgia and Region in the National Fabric: The 9th Henry D. Green Symposium of the Decorative Arts
This volume includes the following papers delivered at the 9th Henry D. Green Symposium of the Decorative Arts, held February 1-3, 2018: “Following the Ten Commandments: The Tablet Samplers of Sarah Jones and Mary Smallwood,” by Jenny Garwood; “‘great and extended Traffique and commerce’: Philadelphia’s Southern Trade in Pursuit of Porcelain,” by Alexandra Kirtley; “A Pennsylvanian in Georgia and the South, 1834–1846: J. H. Mifflin—Artist, Daguerreotypist, Poet, and Entrepreneur,” by E. Lee Eltzroth; “Nathan Negus: Itinerant in Georgia, 1820–1821,” by Laquita Thomson; “The American Longrifle: An Unlikely Canvas,” by Mel Stewart Hankla; “250 Years: History, Context and Restoration of the Floyd Family Arm Chair,” by Fred and Beth Mercier, “Insights from the Conservation and Reproduction of the Floyd Family Arm Chair,” by Martin O’Brien; “The Floyd Chair Style Context: Continental Spindle Chairs in the American South,” by Dale L. Couch; “From Civil War Savannah to Jazz Age Paris: The Discovery and Return of the Green Family Furnishings,” by Susan Arden-Joly and “Coastal Connections: Savannah and New York in the 19th Century,” by Tania June Sammons as well as a foreword by museum director William Underwood Eiland, acknowledgments by Dale L. Couch and a focus on a recent acquisition by Joseph Litts. Full-color illustrations throughout.
Publishing Date: January 2020
General Editor: 149 pages; $25 (softcover)
ISBN: 978-0915977178
Material Georgia 1733 – 1900: Two Decades of Scholarship
To celebrate two decades of its Henry D. Green Center for the Study of the Decorative Arts, the Georgia Museum of Art at the University of Georgia organized the exhibition “Material Georgia 1733 – 1900: Two Decades of Scholarship,” on which this heavily illustrated catalogue expands. It takes a comprehensive look at Georgia’s diverse contributions to early decorative arts and summarizes the scholarship of the past 20 years. It focuses on revealing new discoveries made in the field, pointing a way forward and making the case Georgia can hold its own against any other state in terms of the quality of its decorative arts. “Material Georgia” surveys Georgia decorative art in media including furniture, silver, pottery, textiles, basketry and portraits. Georgia has had a troubled history, shaped by the system of slavery and widespread inequality, but its diverse material culture tells about the lives of all its people.
Dale L. Couch, editor and author of much of this catalogue, is curator of decorative arts at the Georgia Museum of Art and directs the Henry D. Green Center for the Study of the Decorative Arts there. Other authors include Linda Chesnut, chair of the museum’s Decorative Arts Advisory Committee; Daniel Chamberlin, independent scholar and former Green Center intern; silver expert Charlotte Morley Crabtree; graduate intern Ashlyn Davis; early Georgia furniture expert Jeff Finch; Jenny Garwood, adjunct curator of textiles and curatorial and administrative associate at MESDA; Brenda Hornsby Heindl, independent scholar and practicing potter; Maryellen Higginbotham, retired curator of the Root House Museum in Marietta, Georgia; Robert Leath, chief curator and vice president at MESDA; Joseph Litts, master’s student at the University of Delaware and former Green Center intern; Keith M. McCurry, an authority on early furniture from the upstate of South Carolina; Caroline Rainey, an independent scholar focused on early American material culture and former Green Center intern; James Rooks, master’s candidate in the UGA historic preservation program and Green Center intern; and Kathleen Staples, independent scholar in the social and cultural history of England and the Americas as expressed through textiles and related craft.
240 pages; $60 (hardcover)
ISBN: 978-194665711-4
Publishing Date: December 2019
Deborah Roberts: The Evolution of Mimi
This catalogue was published with Spelman College Museum of Fine Art with generous support from the Wish Foundation, Inc., and accompanies the exhibition of the same name, on view at Spelman from January 25 to May 19, 2018. It is edited by Andrea Barnwell Brownlee, PhD, director of the Spelman College Museum of Fine Art, and features contributions by Kirsten Pai Buick, PhD; Erin J. Gilbert; Beverly Guy-Sheftall, PhD; Antwaun Sargent; and Franklin Sirmans; a foreword by Mary Schmidt Campbell, PhD, and an interview between Deborah Roberts and Valerie Cassel Oliver. Additional support was provided by Susanne Vielmetter Los Angeles Projects, Los Angeles, and Stephen Friedman Gallery, London. It includes full-page, full-color illustrations of the 80-plus works that were on view in the exhibition as well as installation photographs. It is the first major publication on Roberts’ work and includes some of her early work as well as her more recent collages and text-based images. This book is out of print.
160 pages; $40 (hardcover)
ISBN: 978-1946657107
Publishing Date: August 2019
Richard Hunt: Synthesis
This exhibition catalogue focuses on formative periods in the career of American sculptor Richard Hunt, whose 130-plus public commissions in more than 24 states have made him a legendary figure in modern and contemporary sculpture. Hunt, whose career has spanned six decades, has also been a formidable presence in redefining the role of public sculpture in the late 20th and early 21st century. His parallel studio career shows his experimentation with a variety of media, methods and formal considerations, but has been underexplored critically as an essential aspect of his later success. The catalogue features full-color full-page illustrations of every work in the exhibition, including welded and cast sculpture dating from the 1950s to the present, models he made after his transition to large-scale public commissions in the late 1960s and lithographs and other works on paper. Curator Shawnya Harris supplies a long essay. The book also includes a detailed chronology of Hunt’s career and historic photos.
This book is out of print.
Publishing Date: October 2018
120 pages; $40
ISBN: 978-1946657091
Vernacular Modernism: The Photography of Doris Ulmann
This is the first complete retrospective of the work of photographer Doris Ulmann (1882 – 1934), treating the full scope of her production, including her early pictorialist photographs, her studio portrait production, her focus on the rural craftsmen and women of Appalachia and her work on the African American and Gullah communities of coastal South Carolina and Georgia.
Ulmann created studio portraits in her native New York of literary and artistic celebrities but also traveled to Appalachia, the rural South and the Gullah coastal region to photograph locals and their crafts. Because of her variety of subjects, her work is difficult to categorize, but it has elements of pictorialism (fine art photography that often blurred its subjects to emphasize atmosphere) and documentary photography. It focuses on preservation of the American past and shows an interest in some of modernism’s concerns: a priority on form, sharper tonal contrast and quality of line, and unmanipulated prints.
Publishing Date: August 2018
200 pages; $50
ISBN: 978-1946657084
Bloom Where You're Planted: The Collection of Deen Day Sanders
This catalogue accompanies the exhibition of the same name, on view at the Georgia Museum of Art from May 19 to July 29, 2018. Drawn from one of the most important Georgia-based collections of American art, the catalogue features furniture and porcelain as well as paintings in a unique opportunity to see the exceptional collection from Bellmere, the home of Jim and Deen Day Sanders. Essays discuss a wide range of topics including the American West, depictions of reading in late 19th and early 20th century portraiture, creating a home out of the best decorative arts, and interpretations of Florida flora and fauna in an Ernest Lawson painting. The authors of this collection are diverse and include conservation botanist Linda Chafin, State Botanical Garden of Georgia special events coordinator Connie Cottingham, curator of decorative arts Dale L. Couch, director William U. Eiland, curator of American art Sarah Kate Gillespie, associate professor of language and literacy education Jennifer Graff, curator of American paintings Donald D. Keyes, associate professor of history Akela Reason, graduate student Courtney Shimek, and former president of the Friends of the State Botanical Garden Mike Sikes.
Publishing Date: May 2018
136 pages; $50 (hardcover)
ISBN: 978-1946657077
Clinton Hill
Clinton Hill was a multitalented artist who was a Renaissance man of the abstract. Neither cubist, futurist, minimalist, abstractionist, or constructivist, he was all at once. This book and the exhibition it accompanies (on view at the Georgia Museum of Art at the University of Georgia January 6 March 19, 2018) constitute a survey of his career, from printmaker to painter, from pulp-paper pioneer to lyrical wall constructions. Hill s biographer Susan Larsen referred to his effortless fluency of craft, from which his distinctive visual vocabulary takes voice and which these works demonstrate. William U. Eiland is the curator of the exhibition, the author of this book, and the director of the Georgia Museum of Art.
Publishing Date: April 2018
124 pages; $40 (softcover)
ISBN: 978-1946657060
Folk and Folks: Variations on the Vernacular: The 8th Henry D. Green Symposium of the Decorative Arts
This volume includes the following papers delivered at the 8th Henry D. Green Symposium of the Decorative Arts, held Feb. 1-3, 2016: The Story of Southern, in Pictures by Robert M. Hicklin Jr.; The Illusive Miss Cox: A Search for the Identity of a Clarke County Portrait by Laura Pass Barry; Woman in a Man's World: Louise DuBose and the Battleship Georgia Silver by Deborah Prosser; Starrs and Stripes: Georgia Silver and Southern Filibusters by Caroline G. Rainey; John Abbot: Early Georgia s Naturalist Artist by Beth Fowkes Tobin; 'Received . . . in a Most Friendly Manner': Moravians in Georgia by Johanna Metzgar Brown; Mary Jane Smithey's Memorial Embroidery by Kathleen Staples; The Creolized Kitchen: Interpreting the Life of a Catawba Indian-Made Pan from Urban Charleston, 1800 1830 by Kelly Sharp; A Masked Tradition: British Porcelain and Georgia Folk Pottery by Joseph D. Litts; Wedding Jug or Flower Vase: A Stoneware Vessel Explored by Suzanne Findlen Hood; Religion, Land, and Cultural Tradition: Johannes Spitler of the Shenandoah Valley, 1790 1809 by Elizabeth A. Davison; 'The Tree of Life, My Soul Hath Seen : Painted Dower Chests in Walton County, Georgia by Sumpter Priddy III; Under Continental Influences: Current Research into the Long-Block Group of Georgia Furniture by Dale L. Couch and Joseph D. Litts; as well as a foreword by museum director William Underwood Eiland and acknowledgments and a focus on a recent acqusition by Dale L. Couch, curator, Henry D. Green Center for the Study of the Decorative Arts. Full-color illustrations throughout.
Publishing Date: February 2018
216 pages; $30 (softcover)
ISBN: 978-1946657053
Crafting History: Textiles, Metals and Ceramics at the University of Georgia
For more than a century, the University of Georgia has provided students with opportunities to study craft particularly textiles, metals and ceramics. This book (which accompanies the exhibition of the same name, on view at the museum February 1 - April 29, 2018) tells the story of a small department that began in home economics under the direction of women interested in practical applications of art and design, and now exists in the Franklin College of Arts and Sciences as the Lamar Dodd School of Art, named for its long-time director. It features work by more than 30 faculty members who contributed to craft education at UGA (including Earl McCutchen, Frances Stewart Higgins, Glen Kaufman, Robert Ebendorf, Gary Noffke, Ron Meyers, Andy Nasisse and Ed Lambert). Through their work, it traces the history of studio craft in the United States and the cultural forces that shaped it. Authors Ashley Callahan, Annelies Mondi and Mary Hallam Pearse contribute nine chapters that trace the history of the program from the 1920s to the present, copiously illustrated in color.
Publishing Date: February 2018
372 pages; $40
ISBN: 978-1946657046
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[
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[
"Patrick Folliard"
] |
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/
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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://www.asheswithart.co.uk/blogs/news/60-heart-touching-death-of-a-spouse-or-friend-quotes
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60 Heart Touching Death of a Spouse or Friend Quotes
|
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Whether you're looking for inspiration, support, or just a way to express your own grief and pain, these quotes can help. They remind us that we are not alone in our suffering and that there is hope beyond the darkness.
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en
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https://www.asheswithart.co.uk/blogs/news/60-heart-touching-death-of-a-spouse-or-friend-quotes
|
Losing a spouse or a friend is one of the hardest things that we can go through in life. Coping with our grief and finding a way to move forward is an incredibly difficult journey. But it's one that many of us have to undertake at some point or another, no matter how heart-breaking it feels in the moment.
One of the ways that many people find solace is by taking comfort in the fact that they are not the first person to experience this pain. Quotes from books, music films, TV and popular culture remind us that we aren't alone in our struggles.
Whether you're looking for inspiration, support, or just a way to express your own grief and pain, these quotes can help. They remind us that we are not alone in our suffering and that there is hope beyond the darkness.
"Grief is the price we pay for love." – Queen Elizabeth II
"No one ever told me that grief felt so like fear. The death of a beloved is an amputation." – C.S. Eliot
"To lose a friend is the greatest of all losses." – Cicero
"There are no goodbyes for us. Wherever you are, you will always be in my heart." – Mahatma Gandhi
“Though nothing can bring back the hour, Of splendour in the grass, of glory in the flower, We will grieve not, rather find, Strength in what remains behind.” – William Wordsworth
"Grief is a journey that leaves us changed forever. So don't run from it or hide from it. Embrace it and let it change you." – Unknown
"Death is not the greatest loss in life. The greatest loss is what dies inside us while we live." – Norman Cousins
"When you lose someone you love, you gain an angel you know." – Unknown
“It's been six months since she died. But Ove still inspects the whole house twice a day to feel the radiators and check that she hasn't sneakily turned up the heating.” – Fredrik Backman, A Man Called Ove
"Death is not extinguishing the light; it is putting out the lamp because dawn has come." – Rabindranath Tagore
"He who has gone, so we but cherish his memory, abides with us, more potent, nay, more present than the living man." – Antoine de Saint– Exupéry
"To live in hearts we leave behind is not to die." – Thomas Campbell
"Absence is to love what wind is to fire; it extinguishes the small, it enkindles the great." – Comte de Bussy– Rabutin
"Death leaves a heartache no one can heal, love leaves a memory no one can steal." – From an Irish headstone
"What is essential is invisible to the eye." – Antoine de Saint– Exupéry
"There are in every person's life certain sorrows, losses, and disappointments which they must never surrender too. These unreturned loves, these bad breaks and wrong turns, these defeats—the heartbreaks that we all incur—make for the richness of our lives." – Unknown
“There is a land of the living and a land of the dead, and the bridge is love, the only survival, the only meaning." – Thornton Wilder
"It is not length of life, but depth of life." – Ralph Waldo Emerson
"He who has gone, so we but cherish his memory, abides with us, more potent nay, more present than the living man." – Antoine de Saint– Exupéry
"The bitterest tears shed over graves are for words left unsaid and for deeds left undone." – Harriet Beecher Stowe
"There is no friend like an old friend who has shared our morning days, no greeting like his welcome, no homage like his praise." – Oliver Wendell Holmes
"A friend is someone who knows all about you and still loves you." – Elbert Hubbard
"Don't grieve. Anything you lose comes round in another form." – Rumi
"The hardest arithmetic to master is that which enables us to count our blessings." – Eric Hoffer
" Perhaps they are not stars, but openings in Heaven where the love of our lost ones pours through and shines down upon us to let us know they are happy." – The Little Prince, by Antoine de Saint-Exupéry
"Death is not the opposite of life, but a part of it." – Haruki Murakami
"I am prepared to meet my Maker. Whether my Maker is prepared for the great ordeal of meeting me is another matter." – Winston Churchill
"Every man's life ends the same way. It is only the details of how he lived and how he died that distinguish one man from another." – Ernest Hemingway
"Death is a challenge. It tells us not to waste time... It says, 'Now is the time to do what you will.'" – Leo Buscaglia
"The fear of death follows from the fear of life. A man who lives fully is prepared to die at any time." – Mark Twain
"Death is more universal than life; everyone dies but not everyone lives." – Alan Sachs
"To live in hearts we leave behind is not to die." – Thomas Campbell
"What we have once enjoyed we can never lose. All that we love deeply becomes a part of us." – Helen Keller
"Grief does not change you, it reveals you." – John Green
"The reality is that you will grieve forever. You will not 'get over' the loss of a loved one; you will learn to live with it. You will heal and you will rebuild yourself around the loss you have suffered. You will be whole again but you will never be the same. Nor should you be the same, nor would you want to." – Elisabeth Kubler-Ross
"I'll never forget how much I loved you, or the way you make me feel, but I have to move on with my life." – Unknown
"I think of you with love every day." – Unknown
"In the night of death, hope sees a star, and listening love can hear the rustle of a wing." – Robert G. Ingersoll
"When he shall die, take him and cut him out in little stars, and he will make the face of heaven so fine that all the world will fall in love with night and pay no worship to the garish sun." – William Shakespeare
"Death —the last sleep? No, it is the final awakening." – Walter Scott
"Death may be the greatest of all human blessings." – Socrates
"No matter how much suffering you went through, you never wanted to let go of those memories." – Haruki Murakami
"Grief is a normal and natural response to loss. It is originally an unlearned feeling process. It is a reaction to change: life-altering change. Those who grieve are not weak; they are strong people with an overabundance of sensitivity and humanity in facing an overwhelming situation." – Elisabeth Kubler-Ross
"There is no pain so great as the memory of joy in times of misery." – Aeschylus
"When someone you love becomes a memory, that memory becomes a treasure." – Unknown
"So long as men can breathe or eyes can see, So long lives this, and this gives life to thee." – William Shakespeare
"Death leaves a heartache no one can heal, Love leaves a memory no one can steal." – Irish Proverb
"If I had a flower for every time I thought of you, I could walk in my garden forever." – Alfred Lord Tennyson
"What is lovely never dies. But passes into other loveliness." – Thomas Bailey Aldrich
"Absence is to love as wind is to fire; it fans the flame, it extinguishes the lamp." – Antoine Rivarol
"The best and most beautiful things in this world cannot be seen or even heard, but must be felt with the heart." – Helen Keller
"We have known each other from time everlasting. You were a friend before life began. We shall know one another again in heaven." – Unknown
"Death departing from men receives the greatest praise for vanquishing them; but when he stays long with them, they blame him because he did not go sooner." – Sophocles
"Nobody ever gets over losses like that. It's just part of your broken heart forever. – Cheryl Strayed
"Death is not extinguishing the light, it is putting out the lamp because dawn has come." – Rabindranath Tagore
"Death is only a horizon. And a horizon is nothing save the limit of our sight." – Richard Dehmel
"It's sad when someone you know becomes someone you knew." – Henry Rollins
"The pain I feel now is the happiness I had before. That's the way life is." – Hugh Laurie
"Grief changes shape, but it never ends." – John Green
"Time heals griefs and quarrels, for we change and are no longer the same persons. Whenever you long for your former lover, think of what you really wanted. The one recollection will suffice you—you want nothing from him but to love again." – Blaise Pascal
How to use these quotes
It's often difficult to find the words we need to express our sorrow for another person's loss. Luckily, the words you need might already have been spoken. These quotes can be useful for expressing your condolences on a card or on a floral tribute. If you are close with the person, you might be able to send a quote in a text message to offer some comfort in their time of need.
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https://patents.justia.com/inventor/john-thomas-oliver-thornton
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John Thomas Oliver Thornton Inventions, Patents and Patent Applications
|
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USPTO patent applications submitted by and patents granted to John Thomas Oliver Thornton
|
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https://patents.justia.com/inventor/john-thomas-oliver-thornton
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https://storyvillerecords.com/product-category/duke-ellington/
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Duke Ellington – Storyville Records
|
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Storyville Records
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https://storyvillerecords.com/product/an-intimate-piano-session/
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Edward Kennedy “Duke” Ellington (April 29, 1899 – May 24, 1974) was an American composer, pianist, and big-band leader. Ellington wrote over 1,000 compositions. In the opinion of Bob Blumenthal of The Boston Globe, “[i]n the century since his birth, there has been no greater composer, American or otherwise, than Edward Kennedy Ellington.” A major figure in the history of jazz, Ellington’s music stretched into various other genres, including blues, gospel, film scores,popular, and classical. His career spanned more than 50 years and included leading his orchestra, composing an inexhaustible songbook, scoring for movies, composing stage musicals, and world tours. Several of his instrumental works were adapted into songs that became standards. Due to his inventive use of the orchestra, or big band, and thanks to his eloquence and extraordinary charisma, he is generally considered to have elevated the perception of jazz to an art form on a par with other traditional genres of music. His reputation increased after his death and the Pulitzer Prize Board bestowed on him a special posthumous honor in 1999.Ellington called his music “American Music” rather than jazz, and liked to describe those who impressed him as “beyond category.” These included many of the musicians who were members of his orchestra, some of whom are considered among the best in jazz in their own right, but it was Ellington who melded them into one of the most well-known jazz orchestral units in the history of jazz. He often composed specifically for the style and skills of these individuals, such as “Jeep’s Blues” for Johnny Hodges, “Concerto for Cootie” for Cootie Williams, which later became “Do Nothing Till You Hear from Me” with Bob Russell’s lyrics, and “The Mooche” for Tricky Sam Nanton and Bubber Miley. He also recorded songs written by his bandsmen, such as Juan Tizol’s “Caravan” and “Perdido” which brought the “Spanish Tinge” to big-band jazz. Several members of the orchestra remained there for several decades. After 1941, he frequently collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his “writing and arranging companion.” Ellington recorded for many American record companies, and appeared in several films. Ellington led his band from 1923 until his death in 1974. His son Mercer Ellington, who had already been handling all administrative aspects of his father’s business for several decades, led the band until his own death in 1996. At that point, the original band dissolved. Paul Ellington, Mercer’s youngest son and executor of the Duke Ellington estate, kept the Duke Ellington Orchestra going from Mercer’s death onwards.Edward Kennedy Ellington was born on April 29, 1899 to James Edward Ellington and Daisy Kennedy Ellington. Daisy and J.E. were both pianists. Daisy primarily played parlor songs and J.E. preferred operatic airs. They lived with his maternal grandparents at 2129 Ida Place (now Ward Place), NW in the West End neighborhood of Washington, D.C. His father, James Edward Ellington, was born in Lincolnton, North Carolina on April 15, 1879 and moved to Washington, D.C. in 1886 with his parents. Daisy Kennedy was born in Washington, D.C. on January 4, 1879, and was the daughter of a former American slave. James Ellington made blueprints for the United States Navy. At the age of seven, Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners and teach him to live elegantly. Ellington’s childhood friends noticed that “his casual, offhand manner, his easy grace, and his dapper dress gave him the bearing of a young nobleman”, and began calling him Duke. Ellington credited his “chum” Edgar McEntree for the nickname. “I think he felt that in order for me to be eligible for his constant companionship, I should have a title. So he called me Duke.Though Ellington took piano lessons, he was more interested in baseball. “President Roosevelt (Teddy) would come by on his horse sometimes, and stop and watch us play,” he recalled. Ellington went to Armstrong Technical High School in Washington, D.C. He got his first job selling peanuts at Washington Senators baseball games. In the summer of 1914, while working as a soda jerk at the Poodle Dog Cafe, he wrote his first composition, “Soda Fountain Rag” (also known as the “Poodle Dog Rag”). Ellington created “Soda Fountain Rag” by ear, because he had not yet learned to read and write music. “I would play the ‘Soda Fountain Rag’ as a one-step, two-step, waltz, tango, and fox trot,” Ellington recalled. “Listeners never knew it was the same piece. I was established as having my own repertoire.” In his autobiography, Music is my Mistress (1973), Ellington said he missed more lessons than he attended, feeling at the time that playing the piano was not his talent. Ellington started sneaking into Frank Holiday’s Poolroom at the age of fourteen. Hearing the poolroom pianists play ignited Ellington’s love for the instrument and he began to take his piano studies seriously. Among the many piano players he listened to were Doc Perry, Lester Dishman, Louis Brown, Turner Layton, Gertie Wells, Clarence Bowser, Sticky Mack, Blind Johnny, Cliff Jackson, Claude Hopkins, Phil Wurd, Caroline Thornton, Luckey Roberts, Eubie Blake, Joe Rochester, and Harvey Brooks.Ellington began listening to, watching, and imitating ragtime pianists, not only in Washington, D.C., but in Philadelphia and Atlantic City, where he vacationed with his mother during the summer months. Dunbar High School music teacher Henry Lee Grant gave him private lessons in harmony. With the additional guidance of Washington pianist and band leader Oliver “Doc” Perry, Ellington learned to read sheet music, project a professional style, and improve his technique. Ellington was also inspired by his first encounters with stride pianists James P. Johnson andLuckey Roberts. Later in New York he took advice from Will Marion Cook, Fats Waller, and Sidney Bechet. Ellington started to play gigs in cafés and clubs in and around Washington, D.C. and his attachment grew to be so strong that he turned down an art scholarship to the Pratt Institutein Brooklyn in 1916. Three months before graduating he dropped out of Armstrong Manual Training School, where he was studying commercial art. From 1917 through 1919, Ellington launched his musical career, painting commercial signs by day and playing piano by night. Through his day job, Duke’s entrepreneurial side came out: when a customer would ask him to make a sign for a dance or party, he would ask them if they had musical entertainment; if not, Ellington would ask if he could play for them. He also had a messenger job with the U.S. Navy and State Departments. Ellington moved out of his parents’ home and bought his own as he became a successful pianist. At first, he played in other ensembles, and in late 1917 formed his first group, “The Duke’s Serenaders” (“Colored Syncopators”, his telephone directory advertising proclaimed). He was not only a member, but also the booking agent. His first play date was at the True Reformer’s Hall, where he took home 75 cents.Ellington played throughout the Washington, D.C. area and into Virginia for private society balls and embassy parties. The band included Otto Hardwick, who switched from bass to saxophone; Arthur Whetsol on trumpet; Elmer Snowden on banjo; and Sonny Greer on drums. The band thrived, performing for both African-American and white audiences, a rarity during the racially divided times.When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington made the fateful decision to leave behind his successful career in Washington, D.C., and move to Harlem, becoming one of the figures of the Harlem Renaissance. New dance crazes like the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake’s Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive and hard to crack. They hustled pool by day and played whatever gigs they could find. The young band met Willie “The Lion” Smith who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D.C., feeling discouraged. In June 1923, a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club – 49th and Broadway – and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was called Elmer Snowden and his Black Sox Orchestra and had seven members, including James “Bubber” Miley. They renamed themselves “The Washingtonians”. Snowden left the group in early 1924 and Ellington took over as bandleader. After a fire, the club was re-opened as the Club Kentucky (often referred to as the “Kentucky Club”), an engagement which set the stage for the biggest opportunities in Ellington’s life. Ellington made eight records in 1924, receiving composing credit on three including Choo Choo. In 1925, Ellington contributed four songs to Chocolate Kiddies, an all-African-American revue which introduced European audiences to African-American styles and performers. “Duke Ellington and his Kentucky Club Orchestra” grew to a ten-piece organization; they developed their own sound by displaying the non-traditional expression of Ellington’s arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with the group, imparting his propulsive swing and superior musicianship to the young band members. In 1927, King Oliver turned down a regular booking for his group as the house band at Harlem’s Cotton Club; the offer passed to Ellington. With a weekly radio broadcast, famous white clientele nightly poured in to see them. Ellington was joined in New York City by his wife, Edna Thompson, and son Mercer in the late twenties, but the couple soon permanently separated.[20] According to her obituary in Jet magazine, she was “[h]omesick for Washington” and returned (she died in 1967).Although trumpeter Bubber Miley was a member of the orchestra for only a short period, he had a major influence on Ellington’s sound. An early exponent of growl trumpet, his style changed the “sweet” dance band sound of the group to one that was hotter, which contemporaries termed “jungle” style. He also composed most of “Black and Tan Fantasy” and “Creole Love Call”. An alcoholic, Miley had to leave the band before they gained wider fame. He died in 1932 at the age of 29. He was an important influence on Cootie Williams, who replaced him. In 1927, Ellington made a career-advancing agreement with agent-publisher Irving Mills, giving Mills a 45% interest in Ellington’s future. Mills had an eye for new talent and early on published compositions by Hoagy Carmichael, Dorothy Fields, and Harold Arlen. During the 1930s, Ellington’s popularity continued to increase – largely as a result of the promotional skills of Mills – who got more than his fair share of co-composer credits. From the beginning of their relationship, Mills arranged recording sessions on nearly every label including Brunswick, Victor, Columbia, OKeh, Perfect, Pathe, the ARC/Plaza group of labels (Cameo, Romeo, Lincoln, Oriole, Domino, Jewel, Banner), Hit of the Week, and Columbia’s cheaper labels (Harmony, Diva, Velvet Tone, Clarion) labels which gave Ellington popular recognition, as well giving Ellington’s fans the opportunity of hearing multiple versions of the same song. Ellington ended his association with Mills in 1937, although he continued to record under Mills’ banner through to 1940. At the Cotton Club, Ellington’s group performed all the music for the revues, which mixed comedy, dance numbers, vaudeville, burlesque, music, and illegal alcohol. The musical numbers were composed by Jimmy McHugh and the lyrics by Dorothy Fields (later Harold Arlen and Ted Koehler), with some Ellington originals mixed in. Weekly radio broadcasts from the club gave Ellington national exposure. In 1929, Ellington appeared in his first movie, a nineteen-minute all-African-American RKO short, Black and Tan, in which he played the hero “Duke”. In the same year, the Cotton Club Orchestra appeared on stage for several months in Florenz Ziegfeld’s Show Girl, along with vaudeville stars Jimmy Durante, Eddie Foy, Jr., Al Jolson, Ruby Keeler, and with music and lyrics by George Gershwin and Gus Kahn. That feverish period also included numerous recordings, under the pseudonyms “Whoopee Makers”, “The Jungle Band”, “Harlem Footwarmers”, and the “Ten Black Berries”. In 1930, Ellington and his Orchestra connected with a whole different audience in a concert with Maurice Chevalier and they also performed at the Roseland Ballroom, “America’s foremost ballroom”. Noted composer Percy Grainger was also an early admirer and supporter. He wrote “The three greatest composers who ever lived are Bach, Delius and Duke Ellington. Unfortunately Bach is dead, Delius is very ill but we are happy to have with us today The Duke”.In 1929, when Ellington conducted the orchestra for Show Girl, he met Will Vodery, Ziegfeld’s musical supervisor. In his 1946 biography, Duke Ellington, Barry Ulanov wrote: From Vodery, as he (Ellington) says himself, he drew his chromatic convictions, his uses of the tones ordinarily extraneous to the diatonic scale, with the consequent alteration of the harmonic character of his music, its broadening, The deepening of his resources. It has become customary to ascribe the classical influences upon Duke – Delius, Debussy and Ravel – to direct contact with their music. Actually his serious appreciation of those and other modern composers, came after his meeting with Vodery. As the Depression worsened, the recording industry was in crisis, dropping over 90% of its artists by 1933. Ellington and his orchestra survived the hard times by taking to the road in a series of tours. Radio exposure also helped maintain popularity. Ivie Anderson was hired as their featured vocalist. Sonny Greer had been providing occasional vocals and continued to do in a cross-talk feature with Anderson. Ellington, however, later had many different vocalists, including Herb Jeffries (until 1943) and Al Hibbler (who replaced Jeffries in 1943 and continued until 1951). Ellington led the orchestra by conducting from the keyboard using piano cues and visual gestures; very rarely did he conduct using a baton. As a bandleader, Ellington was not a strict disciplinarian; he maintained control of his orchestra with a crafty combination of charm, humor, flattery, and astute psychology. A complex, private person, he revealed his feelings to only his closest intimates and effectively used his public persona to deflect attention away from himself. While the band’s United States audience remained mainly African-American in this period, the Cotton Club had a near-exclusive white clientele and the Ellington orchestra had a huge following overseas, exemplified by the success of their trip to England in 1933 and their 1934 visit to the European mainland. The English visit saw Ellington win praise from members of the “serious” music community, including composer Constant Lambert, which gave a boost to Ellington’s aspiration to compose longer works. For agent Mills it was a publicity triumph, as Ellington was now internationally known. On the band’s tour through the segregated South in 1934, they avoided some of the traveling difficulties of African-Americans by touring in private railcars. These provided easy accommodations, dining, and storage for equipment while avoiding the indignities of segregated facilities.
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Lorna Simpson Paintings, Bio, Ideas
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The American photographer Lorna Simpson investigates the complex and convoluted permutations of stereotypes and tropes of American racism.
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The Art Story
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https://www.theartstory.org/artist/simpson-lorna/
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Summary of Lorna Simpson
As an African American woman growing up in the United States, Lorna Simpson has kept her artistic gaze fixated on investigating the complex and convoluted permutations of what her particular identity ingrained upon her personal psyche and the communal consciousness of a nation bred on systemic racism. With a pioneering approach to conceptual photography and film, pairing images with narrative bits of text, she asks us to see beyond face value into the deeper layers of what it means to be a Black female, utilizing both her own memories and our shared history to make poignant remarks about the nature, power, and problems of representation. Above all, Simpson compels others to examine how they confront imagery and representation in their own lives. She asks us to view a picture beyond face value and removed from education, to probe further into its emotional, psychological, and sociological values.
Her interrogations into race and gender issues further a long lineage of artists who investigate the political and critique the societal in efforts to highlight and evolve our unconscious, or conscious, human shadows.
Accomplishments
Collage based on portraiture, tableau, and repetition are common motifs in Simpson's work; the use of these traditional artistic techniques become co-opted and subverted in her hands as a way to emphasize the ages-old objectification of Black bodies.
By juxtaposing language with imagery, Simpson's work contributes to "intertextuality" -a mode that relies on the artist's coupling of each in ways that spark the viewer to reconsider their original perceptions of what a picture or a word means. In her oeuvre, this technique is often employed to re-evaluate the past.
Simpson has been connected to the Post-Blackness movement, in which artists strove to intentionally make work seen through their own particular life lens, which broke out of being pigeonholed as solely reminiscent of the universal Black experience. She accomplishes this by utilizing her personal memories to inform her art, even as her presentations of the Black female resonate deeply with the concerns and experiences of her female, Black sisters.
Important Art by Lorna Simpson
Biography of Lorna Simpson
Childhood
Born in Brooklyn in 1960, Lorna Simpson was an only child to a Jamaican-Cuban father and an African-American mother. Her parents were left-leaning intellectuals who immersed their daughter in group gatherings and cultural events from a young age. She attributed their influence as the sole reason she became an artist, writing, "From a young age, I was immersed in the arts. I had parents who loved living in New York and loved going to museums, and attending plays, dance performances, concerts... my artistic interests have everything to do with the fact that they took me everywhere ...."
Aspects of day-to-day life lit up Simpson's young imagination, from the jazz music of John Coltrane and Miles Davis, to magazine advertisements and overheard, hushed stories shared between adults; all of which would come to shape her future art. The artist took dance classes as a child and when she was around 11 years old she took part in a theatrical performance at the Lincoln Center for which she donned a gold bodysuit and matching shoes. Though she remembered being incredibly self-conscious, it was a valuable learning experience, one that helped her realize she was better suited as an observer than a performer. This early coming-of-age experience was later documented in the artwork Momentum, (2010).
Simpson's creative training began as a teenager with a series of short art courses at the Art Institute of Chicago, where her grandmother lived. This was followed by attendance at New York's High School of Art and Design, which, she recalls "...introduced me to photography and graphic design."
Early Training and Work
After graduating from high school Simpson earned a place at New York's School of Visual Arts. She had initially hoped to train as a painter, but it soon became clear that her skills lay elsewhere, as she explained in an interview, "everybody (else) was so much better (at painting). I felt like, Oh God, I'm just slaving away at this." By contrast, she discovered a raw immediacy in photography, which "opened up a dialogue with the world."
When she was still a student Simpson took an internship with the Studio Museum in Harlem, which further expanded her way of thinking about the role of art in society. It was here that she first saw the work of Charles Abramson and Adrian Piper, as well as meeting the leading Conceptual artist David Hammons. Each of these artists explored their mixed racial heritage through art, encouraging Simpson to follow a similar path. Yet she is quick to point out how these artists were in a minority at the time, remembering, "When I was a student, the work of artists from varying cultural contexts was not as broad as it is now."
During her student years Simpson travelled throughout Europe and North Africa with her camera, making a series of photographs of street life inspired by the candid languages of Henri Cartier-Bresson and Roy DeCarava. But by graduation, Simpson felt she had already exhausted the documentary style. Taking a break from photography, she moved toward graphic design, producing for a travel company. Yet she remained connected to the underground art scene, mingling with likeminded spirits and fellow African-Americans who felt the same rising frustrations as racism, poverty, and unemployment ran deep into the core of their communities.
At an event in New York Simpson met Carrie-Mae Weems, who was a fellow African-American student at the University of California. Weems persuaded Simpson to make the move to California with her. "It was a rainy, icy New York evening," remembers Simpson, "and that sounded really good to me." After enrolling at the University of California's MFA program, Simpson found she was increasingly drawn towards a conceptual language, explaining how, "When I was in grad school, at University of California, San Diego, I focused more on performance and conceptually based art." Her earliest existing photographs of the time were made from models staged in a studio under which she put panels or excerpts of text lifted from newspapers or magazines, echoing the graphic approaches of Jenny Holzer and Martha Rosler. The words usually related to the inequalities surrounding the lives of Black Americans, particularly women. Including text immediately added a greater level of complexity to the images, while tying them to painfully difficult current events with a deftly subtle hand.
Mature Period
Simpson's tutors in California weren't convinced by her radical new slant on photography, but after moving back to New York in 1985, she found both a willing audience and a kinship with other artists who were gaining the confidence to speak out about wider cultural diversities and issues of marginalization. Simpson says, "If you are not Native American and your people haven't been here for centuries before the settlement of America, then those experiences have to be regarded as valuable, and we have to acknowledge each other."
Simpson had hit her stride by the late 1980s. Her distinctive, uncompromising ability to address racial inequalities through combinations of image and text had gained momentum and earned her a national following across the United States. She began using both her own photography and found, segregation-era images alongside passages of text that gave fair representation to her subjects. One of her most celebrated works was The Water Bearer, (1986), combining documentation of a young woman pouring water with the inscription: "She saw him disappear by the river. They asked her to tell what happened, only to discount her memory." Simpson deliberately challenged preconceived ideas about first appearances with the inclusion of texts like this one. The concept of personal memory is also one which has become a recurring theme in Simpson's practice, particularly in relation to so many who have struggled to be heard and understood. She observes, "... what one wants to voice in terms of memory doesn't always get acknowledged."
In the 1990s Simpson was one of the first African-American women to be included in the Venice Biennale. It was a career-defining decade for Simpson as her status grew to new heights, including a solo exhibition at New York's Museum of Modern Art in 1990 and a series of international residencies and displays. She met and married the artist James Casebere not long after, and their daughter Zora was born in the same decade. In 1994 Simpson began working with her grandmother's old copies of 1950s magazines including Ebony and Jet, aimed at the African-American community. Cutting apart these relics from another era allowed Simpson to revise and reinvent the prescribed ideals being pushed onto Black women of the time, as seen in the lithograph series Wigs (1994). The use of tableaus and repetition also became a defining feature of her work, alongside cropped body parts to emphasize the historical objectification of Black bodies.
Current Work
In more recent years Simpson has embraced a much wider pool of materials including film and performance. Her large-scale video installations such as Cloudscape (2004) and Momentum (2011) have taken on an ethereal quality, addressing themes around memory and representation with oblique yet haunting references to the past through music, staging, and lighting.
Between 2011 and 2017 Simpson reworked her Ebony and Jet collages of the 1990s by adding swirls of candy-hued, watercolor hair as a further form of liberation. She has also re-embraced painting through wild, inhospitable landscapes sometimes combined with figurative elements. The images hearken to the continual chilling racial divisions in American culture. As she explains, "American politics have, in my opinion, reverted back to a caste that none of us want to return to..."
Today, Simpson remains in her hometown of Brooklyn, New York, where in March 2020, she began a series of collages following the rise of the Covid-19 crisis. The works express a more intimate response to wider political concerns. She explains, "I'm just using my collages as a way of letting my subconscious do its thing - basically giving my imagination a quiet and peaceful space in which to flourish. Some of the pieces are really an expression of longing, like Walk With Me, (2020) which reflects that incredibly powerful desire to be with friends right now."
Despite her status as a towering figure of American art, Simpson still feels surprised by the level of her own success, particularly when she compares her work to those of her contemporaries. "I feel there are so many people - other artists who were around when I was in my twenties - who I really loved and appreciated, and who deserve the same attention and opportunity, like Howardena Pindell or Adrian Piper."
The Legacy of Lorna Simpson
Simpson's interrogation of race and gender issues with a minimal, sophisticated interplay between art and language has made her a much respected and influential figure within the realms of visual culture. American artist Glenn Ligon is a contemporary of Simpson's whose work similarly utilizes a visual relationship with text, which he calls 'intertextuality,' exploring how stencilled letters spelling out literary fragments, jokes or quotations relating to African-American culture can lead us to re-evaluate pre-conceived ideas from the past. Ligon was one of the founders of the term "Post-Blackness," formed with curator and writer Thelma Golden in the late 1990s, referring to a post-civil rights generation of African-American artists who wanted their art to not just be defined in terms of race alone. In the term Post-Black, they hoped to find "the liberating value in tossing off the immense burden of race-wide representation, the idea that everything they do must speak to or for or about the entire race."
The re-contextualization of historical inaccuracies in both Simpson and Ligon's practice is further echoed in the fearless, cut-out silhouettes of American artist Kara Walker, who walks headlong into some of the most challenging territory from American history. Arranging figures into theatrical narrative displays, she retells horrific stories from the colonial era with grossly exaggerated caricatures that force viewers into deeply uncomfortable territory.
In contrast, contemporary American artist Ellen Gallagher has tapped in to the appropriation and repetition of Simpson's visual art, particularly her collages taken from African-American magazine culture. Gallagher similarly lifts original source matter from vintage magazines including Ebony, Our World and Sepia, cutting apart and transforming found imagery with a range of unusual materials including plasticine and gold-leaf. Covering or masking areas of her figures' faces and hairstyles highlights the complexities of race in today's culture, which Gallagher deliberately teases out with materials relating to "mutability and shifting," emphasising the rich diversity of today's multicultural societies around the world.
Influences and Connections
Useful Resources on Lorna Simpson
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U-M LSA Department of Film, Television, and Media
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"Television",
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"Oliver Thornton"
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About
Oliver Thornton is an EMMY® Award-winning writer and producer who has worked with broadcast stations and independent production companies to produce a range of projects from PSA campaigns to full-length documentaries and series.
He most recently wrote and produced the 2020 and 2021 National Book Festival specials for the Library of Congress that aired on national PBS, as well as the EMMY® Award-winning documentaries Orchestra Hall – A Centennial Celebration and Mackinac – Our Famous Island for Detroit Public Television. His past projects have included a number of documentaries, including the EMMY®-nominated Inside Grand Hotel, J.P. – The Voice of Detroit, Pioneer Family – On Van Hoosen Farm, and Michigan Football Memories, as well as the EMMY® Award-winning Blue Ice: The Story of Michigan Hockey, Great Teachers and Detroit Titan Court Report: Legends & Traditions. He has been a writer and producer on a variety of series, including Feel Grand with Jane Seymour, a nationally-distributed talk show through American Public Television, the EMMY® Award-winning Think Squad on Detroit Public Television, and the EMMY®-nominated Oakland Basketball All-Access on Fox Sports Detroit. His EMMY®-winning public service announcement campaigns have included Get Smart with Your Money, Give Your Child a Great Start and Be Humane.
Alongside his production work, he is also a faculty member of the University of Michigan’s Department of Film, Television, and Media. A graduate of the program in 2000 and the recipient of a Hopwood Award, he currently teaches multiple classes in writing for both film and television.
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THORNTON DIAL: IMAGE OF THE TIGER
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1994-04-03T14:19:00+00:00
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Thomas McEvilley and Amiri Baraka, Thornton Dial: Image of the Tiger (New York: Harry N. Abrams, 1993), 160 pages, 128 illustrations. THE ART OF THORNTON DIAL, a remarkable black artist…
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Artforum
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https://www.artforum.com/columns/thornton-dial-image-of-the-tiger-203140/
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Thomas McEvilley and Amiri Baraka, Thornton Dial: Image of the Tiger (New York: Harry N. Abrams, 1993), 160 pages, 128 illustrations.
THE ART OF THORNTON DIAL, a remarkable black artist of Alabama, recently challenged New York at the New Museum on Broadway downtown and at the Museum of American Folk Art off Broadway uptown. One message was, or seemed to be, Abandon your theoreticism and get on down to line, form, and color, and to social criticism in vernacular terms. Randall Morris argues that academic discourse is inadequate when aimed at visionary artists like Dial.1 I would agree: black artists who preach and signify in an abiding idiom of the spirit elude the agnostic nets of Modernism, deconstruction, post-Modernism, and other analytic trends. The vein of the vernacular, predating the Modernist and postdating the post, is, to paraphrase Amiri Baraka, a changing forever.
Hence Image of the Tiger, the book on Dial published alongside the recent exhibitions, mixes savor with the problematic: how can the instruments of Western History deal with a person working beyond the West yet within the West, and despite it? Critic and polemicist Thomas McEvilley and playwright/poet/activist Baraka accept the challenge of Dial’s complexity; gracing Image of the Tiger, their essays recognize the black nationality, real and fundamental, that generates and names his work.
McEvilley starts with this: Dial translates info sculpture and into paint “a culture within a culture that has its own dynamic reality.” How to recognize that dynamic when we see it? When it is self-revealed as part of a linked universe of recurring forms. Cultural repetitions bind Dial to the black South, and both, ultimately, to the mother continent. With an artist like the Cuban José Bedia, now resident in Miami, resemblances to African cultures are deliberate and specific. In Kongo, priests make secret sheds in the woods, and call on the moon for permission to cut branches of power for insertion as items of spiritual militance in the sacred charms (minkisi) they keep there—and so does Bedia, in his ritualizing art. Dial’s contacts, though, are not so much with Africa as with the Old Time Religion, its shouts and ecstasies blending Christianity and traces of the spirit in African terms. He refers to this source in the title Sanctified Dancing—dancing in the spirit of Jesus.
In a painting of this name from 1992, a maelstrom of revolving faces dissolves the Old Time Religion practice of worship in a circle, which may echo the ring-shout structure of Kongo.2 But in another work with the same title, also from 1992, women raising their hands in ecstasy cite the transatlantic gesture of felicity that Bakongo term yángalala and relate to the coming of the spirit. Yángalala is generic. It can turn up with a victory on a football field or at a track meet as well as in church. For the sacred and the profane are tightly intermingled in the black Atlantic world; what happens amidst the pews can turn up in the blues or in slang or in rap.
Such continuities help explain the theme of the tiger in Dial’s painting. The tiger is a cat; in many West and Central African civilizations, particularly those that most influenced the Americas (Yoruba, Ejagham, Kongo), the cat is a sign of sovereignty. To McEvilley, Dial’s tiger is shorthand for one man’s struggle, one man’s relation to the diaspora. If so, under this sign Dial compounds culture with identity.
Over 80 paintings reproduced in Image of the Tiger spotlight tigers, and bear titles like The Freedom Cat and the Hard Tin Men, The Tiger Who Flew over New York City, and Peace Tiger for the World (Honoring Ralph Bunche). The settings are modern; some works, as in the allusion to black diplomat and Nobelist Bunche, are overtly political. But praising persons by reference to the feline is a longtime riff for the people. We did not praise King Oliver or John Coltrane by any animal image other than the cat. Under black tutelage, white America came to hear of “cats,” hip, hep, and otherwise, in the days of swing, bop, and boogie-woogie. Cat is a person, beloved and wise.
This history dovetails with the theme of the royal feline in classical African art—with the whiskers on the cheek of the Olokun Walode head from medieval Nigeria, and with the superb leopard statuary that suggested beauty and intimidation at the court of Benin City in the 1550s. In ancient Kongo, the theme of the feline equally underscored powers of confidence and mastery, as in the phrase Ngó ka ye nkanda?, Is there a leopard within the clan?, meaning, Do we not have a king to rule over us, seated in glory on the skin of a great cat? A painted stone from the Apollo 11 cave in Namibia, radiocarbon-dated to 26,300 years B.C., depicts an evident feline with human legs. The existential leap of the great cat extends, then, from paleolithic southern Africa to the international urban parlance of today, in a persistence invisible to those obsessed with change and obsolescence.
If praise via felinization is Africanizing, Dial’s usage is personal, inventive, and protean. In Bowlegged John, 1990, a strong, virile artist is set in a sea of responding faces. Rendered in powerful strokes of green and blue and white, these faces come alive: sparks of red surround their mouths, surround their eyes, for the vision of the artist has excited their blood. Hidden in the sea of faces are three small felines. Their paws and faces burn with the tints of spiritual rapture. Did Dial mean that these were lovers, persons he cared for, whom he hoped would take his gifts and make matters happen, taking the leap? Such handling of the metaphor is unprecedented in Africa. Dial owns his own feelings. He blends them with the past.
Considering the complexity of Dial’s voice, it is good that the volume offers the perspective of another writer, Baraka, who translates Dial’s power as a “fearful symmetry” expressing “social motion” and intensity. Deriding “primitive art,” whatever that was, Baraka straightforwardly links Dial to sub-Saharan Africa and the American South, “land base of the Afro-American nation.” With a dramatist’s eye, he casts Dial as a blend of Romare Bearden and John Henry: yesterday Dial had nothing “to sell but the muscle in his arm”; today, increasingly famous, he remains “the black worker. His hands look like worker’s hands.” Baraka translates the equation “feline equals black person” in his own stark terms: “Nigger-beast-self.” Yet shock is a cover for inner affection. Dial needs this strength, Baraka argues, because he represents the creativity of the whole Deep South. And Baraka also notes Dial’s celebration of perception, and his gestures of a “black preacher praying against all odds.”
Finally Baraka drops a clue to Dial that future studies will complete: “Inside the picture all the images are bound together speaking.” In their stylized interlocking, multiple voices announce a universe of cultural difference. Future critics may distinguish Jackson Pollock’s cyclings from the nebulae of Dial by linking Pollock to the heating up of abstraction under the pressures of Thomas Hart Benton (his sexy lines), bop, Navaho sandpainting, Pablo Picasso, and others, linking Dial to the ring shout, hocketing fusions of voice and face and tiger. Dial’s “parlometrics,” to borrow from Alan Lomax, lead from the Ituri via Kongo and New Orleans to rap’s esthetic interruptions—all performers talking at once, yet leaving spaces for one another.
Image of the Tiger is an excellent beginning. The next book, let us hope, will rank Dial’s works (his sculptures seem stronger than his paintings, his paintings stronger than his drawings) and place them more firmly in context and temporal perspective. The flash and array of the Deep South yard show, for example, haunts Dial. There are plate trees in Kongo and bottle trees in Arkansas, and Dial once mirrored them in a painting with a memorable theme of spiritual embottlement. Lengths of garden hose, Jordans in miniature, grace black graves and tombstones; Dial incorporates this strange medium of the spirit in one of his paintings. Above all, African images are palisades, they guard, they filter, they watch—as does Dial’s masterpiece sculpture of a cat surmounted by fowls and surmounting skeletal persons, perhaps warning, like Kongo boneyards: Mess with us and go to death. Comparisons with black music are even more telling. And so Dial continues, fixing and crystallizing the moments of his life in terms of his culture, radiant and transcendent.
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NOTES
1. Randall Morris, speech at Yale University, fall 1993.
2. Sterling Stuckey, Slave Culture: Nationalist Theory and the Foundations of Black America, New York: Oxford University Press, 1987, pp. 31–97.
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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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Visual Arts
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Our Beliefs
The Fort Bend Independent School District Department of Fine Arts instills a life-long appreciation for the fine arts, cultivates discipline, fosters enduring character traits and equips students with the 21st Century skills of creativity, critical thinking, communication and collaboration. The David Crockett Middle School Visual Arts program follows the same philosophy while incorporating the campus core beliefs of CARE, COMMITMENT AND TRUST.
Our mission is to develop the passion of young artists that demonstrate CARE about themselves, their work and others. We encourage our students to build a strong work ethic and a COMMITMENT to their own ideas and exceptional work. We wish to establish an environment that engages students to persistence through challenging assignments. We believe that our classrooms must have a sense of community and promote a climate of inclusiveness. We TRUST that our students will be working to the best of their potential and will honor the relationships developed within our school community.
We honestly believe that our students will find their own paths and individual potential through our visual arts programs. Our curriculum supports the development of the whole person and incorporates other subject matters into our lesson plans. It is our opinion that the arts blended with other subjects create an overall well-rounded individual.
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Famous Sinfonians – Phi Mu Alpha Sinfonia
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https://www.sinfonia.org/famous-sinfonians/
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Ben Folds is widely regarded as one of the major music influencers of our generation.
He’s created an enormous body of genre-bending music that includes pop albums with Ben Folds Five, multiple solo albums, and numerous collaborative records. His last album was a blend of pop songs and his Concerto for Piano and Orchestra that soared to #1 on both the Billboard classical and classical crossover charts. For over a decade he’s performed with some of the world’s greatest symphony orchestras and currently serves as the first-ever Artistic Advisor to the National Symphony Orchestra at the Kennedy Center.
In addition to solo rock and orchestral touring, Folds recently wrote a critically-acclaimed memoir “A Dream About Lightning Bugs,” which debuted as a New York Times Best Seller, and is described as a collection of interrelated essays, anecdotes and lessons about art, life, and music.
He is also no stranger to television, having been featured for five seasons as a judge on NBC’s critically-acclaimed a capella show “The Sing Off.” He continues to appear in cameo roles on cable and network TV shows, and composes for film and TV.
An avid photographer, Folds is a member of the prestigious Sony Artisans of Imagery, has worked as an assignment photo editor for National Geographic, and was featured in a mini-documentary by the Kennedy Center’s Digital Project on his photographic work.
An outspoken champion for arts education and music therapy funding in our nation’s public schools, in 2016 Ben held the distinction as the only artist to appear at both national political conventions advocating for arts education, has served for over five years as an active member of the distinguished Artist Committee of Americans For The Arts (AFTA), and serves on the Board of AFTA’s Arts Action Fund. He is also Chairman of the Arts Action Fund’s ArtsVote2020 national initiative to advocate for a greater commitment to the nation’s creative economy through improved public policies for the arts and arts education, and hosts a podcast series of interviews on arts policies with 2020 candidates.
Jonathan Kimble Simmons was originally a singer, with a degree in music from the University of Montana. He turned to theater in the late 1970s and appeared in many regional productions in the Pacific Northwest before moving to New York in 1983. He appeared in Broadway and off-Broadway shows and also did some television — his early roles included the portrayal of a white supremacist responsible for multiple murders in an episode of Homicide: Life on the Street. In that same vein, Simmons first gained wide exposure as Vern Schillinger, the leader of an Aryan Brotherhood-type organization in prison in the HBO series Oz.
Parlaying his small-screen notoriety into feature film opportunities, Simmons had a small part in the 1997 thriller The Jackal and played a leading role in Frank Todaro’s low-budget comedy Above Freezing, a runner-up for the most popular film at the 1998 Seattle Film Festival. Also in 1997, Simmons increased his television prolificacy by taking on the role of Dr. Emil Skoda, the consulting psychiatrist to the Manhattan district attorney’s office in the series Law and Order.
By 1999, Simmons was showing up in such prominent films as The Cider House Rules and the baseball drama For Love of the Game, directed by Sam Raimi. The director again enlisted Simmons for his next film, 2000’s The Gift. After a supporting turn in the disappointing comedy The Mexican, Simmons teamed with Raimi for the third time, bringing cigar-chomping comic-book newspaperman J. Jonah Jameson screaming to life in the 2002 summer blockbuster Spider-Man. In 2004, he would reprise the role in the highly anticipated sequel, Spider-Man 2. That same year, along with appearing alongside Tom Hanks in the Coen Brothers’ The Ladykillers, Simmons continued to be a presence on the tube, costarring on ABC’s midseason-replacement ensemble drama The D.A.
His career subsequently kicking into overdrive, the popular character actor was in increasingly high demand in the next few years, enjoying a productive run as a voice performer in such animated television series’ as Justice League, Kim Possible, The Legend of Korra, and Ultimate Spider-Man (the latter of which found him reprising his role as J. Jonah Jameson), as well as turning in memorable performances in Jason Reitman’s Juno, Mike Judge’s Extract, and as a hard-nosed captain in the 2012 crime thriller Contraband. Meanwhile, in 2005, he joined the cast of TNT’s popular crime drama The Closer as Assistant Chief Will Pope — a role which no doublt played a part in the cast earning five Screen Actors Guild Award nominations for Best Ensemble Cast.
Simmons continued to work steadily in movies, returning to the Spider-Man franchise in 2007. That same year he co-starred as the father of a pregnant teen in Juno, which led to him being cast regularly by that film’s director Jason Reitman in many of his future projects including Up In the Air and Labor Day. It was Reitman who got Simmons the script for Whiplash, Damien Chazelle’s directorial debut. The actor took the part of an abusive, but respected music teacher and the ensuing performance garnered Simmons multiple year-end awards including a Best Supporting Actor nomination from the Academy.
Tubist Samuel Pilafian was noted for having achieved a degree of fame on an instrument that usually fills an accompanimental role. Equally noteworthy, however, was the ease with which Pilafian moved between classical music and pop.
A native of Miami, Pilafian started early on the tuba. He attended the National Music Camp in Interlochen, Michigan, becoming only the second tuba player in history to win the school’s concerto competition. That propelled Pilafian to scholarships at Dartmouth College and the Tanglewood Music Center in Massachusetts. While he was studying in the latter program, he was selected by Leonard Bernstein to perform in the world premiere of Bernstein’s Mass, which was simultaneously part of the opening ceremonies for Washington, D.C.’s John F. Kennedy Center for the Performing Arts.
With his performance of that thoroughly eclectic composition as a starting point, Pilafian developed dual careers. In the classical sphere, Pilafian was best known as a founding member of the Empire Brass Quintet. He also performed and recorded with the Boston Symphony, the New York Philharmonic, the Orchestra of St. Luke’s, and the Metropolitan Opera Orchestra. Pilafian played recitals and made orchestral appearances in Canada, Spain, Sweden, Switzerland, Japan, Italy, Austria, Germany, and England. He served on the faculties of Boston University and the Boston University Tanglewood Institute, and was a consultant at the Royal Academy of Music in London before joining the faculty at Arizona State University in 1994. Pilafian released 12 solo albums as a jazz performer and recorded with the Duke Ellington Orchestra. With guitarist Frank Vignola, Pilafian formed the jazz duo Travelin’ Light, which released three discs on the Telarc label. While many classical artists have ventured into jazz with notable success, few diverged as far from their original training as Pilafian. He recorded with the rock group Pink Floyd, and under the designation of the Pilafian Project he recorded an experimental mix of tuba sounds that transcends genre categories. An example is the 1998 album Meltdown, which includes music by composers such as Bartók, Sidney Bechet, Ornette Coleman, Ravel, and Captain Beefheart. A past president of T.U.B.A. (the Tubists’ Universal Brotherhood Association), Pilafian served as chairman of that group’s board of directors. Pilafian passed away in April 2019 from colon cancer.
Thomas E. Dewey was born on March 24, 1902, at Owosso, Mich. In 1923 he received his bachelor of arts degree from the University of Michigan. After briefly studying music and law in Chicago, he entered Columbia University Law School. After his graduation in 1925, he toured England and France. Returning to New York, he entered the state bar, accepted a clerkship in a law office, and became active in the Young Republican Club. In 1928 Dewey married Frances E. Hutt; they had two children.
In 1931 the U.S. attorney for the Southern District of New York appointed Dewey his chief assistant. In addition to fundamental honesty and natural courage, Dewey possessed a capacity for careful and deliberate case preparation and an amazing self-control that enabled him to remain cool under pressure. With the resignation of the U.S. attorney in November 1933, Dewey took that position—at 31 the youngest U.S. attorney ever. When President Franklin D. Roosevelt appointed a Democrat to the position 5 weeks later, Dewey returned to private law practice. In 1935 he was appointed special prosecutor for the Investigation of Organized Crime in New York. His campaign against narcotics and vice racketeers obtained 72 convictions in 73 prosecutions. In 1937 he was elected district attorney for New York County.
In 1942 Dewey was elected governor of New York. He quickly established a reputation for political moderation and administrative efficiency, enjoying cordial relations with the legislature. Success as governor, added to his reputation in fighting New York racketeers, sent Dewey’s political stature soaring. In 1944 he was the Republican party’s presidential nominee. He ran well, despite Roosevelt’s record as a war leader and Dewey’s lack of experience in international affairs. Reelected governor of New York in 1946, he proceeded to ram a series of liberal laws through the legislature.
As the acknowledged front-runner in his second presidential campaign—against Democrat Harry Truman in 1948—Dewey refused to tax himself, made only a few speeches, avoided controversial issues, and scarcely recognized the opposition. He lost to Truman by a narrow margin. In 1950 he was elected to his third successive term as New York’s governor.
At the suggestion of State Department adviser John Foster Dulles, Dewey visited 17 countries in the Pacific in 1951. In 1955 he reentered private practice with the New York firm of Dewey, Ballantine, Bushby, Palmer, and Wood. By 1957 Dewey had been awarded 16 honorary degrees. His books include The Case against the New Deal (1940), Journey to the Far Pacific (1952), and Thomas E. Dewey on the Two Party System (1966). He died on March 16, 1971, at Bal Harbour, Fla.
Bontemps grew up in California and was sent to the San Fernando Academy boarding school with his father’s instruction to not “go up there acting colored.” This Bontemps later noted as a formative moment, and he would resent what he saw as an effort to make him forget his heritage. He graduated from Pacific Union College in Angwin in 1923 with an AB.
In 1924 he accepted a teaching position in Harlem, New York. He married Alberta Johnson, a former student, in 1926; they would eventually have six children. Though his original plan was to obtain his Ph.D. in English, he accepted teaching positions to support his family. Luckily, it was while teaching in Harlem that he would become closely connected to the Harlem Renaissance and befriend major artists such as Countee Cullen, W. E. B. DuBois, Zora Neale Hurston, James Weldon Johnson, Claude McKay, Jean Toomer, and especially Langston Hughes, with whom he frequently collaborated.
Bontemps first published his poems in “Crisis” in 1924, and also later in “Opportunity,” both literary magazines that supported the work of young African American writers. In 1926 and 1927, Bontemps win three prizes for his poetry from these publications. His first book of fiction was “God Sends Sunday” (1931), the story of a fast-living black jockey named Little Augie. The book received mixed reviews: praise for its significance as a book by a black author but also criticism for its emphasis on the seamier side of black life.
That same year Bontemps moved to Huntsville, Alabama, where he had accepted a position at Oakwood Junior College. In 1932 he received another prize for the short story “A Summer Tragedy” and published his first two children’s book, “Popo, and Fifina: Children of Haiti,” with Langston Hughes, and “You Can’t Pet a Possum” in 1934. He began work on “Black Thunder: Gabriel’s Revolt: Virginia 1800,” the story of an aborted slave rebellion led by Gabriel Prosser. The novel, published in 1936, was finished in his father’s California house. At the end of the 1934 school year, Oakwood dismissed Bontemps, a reaction to the combination of his radical politics, out-of-state visitors, his personal book collection, and the school’s own conservative and religious views.
In 1943 Bontemps received a master’s degree in library science from the University of Chicago. He was appointed a librarian at Fisk University, a position he held until his retirement in 1965, followed by honorary degrees and professorships at the University of Illinois and Yale University, and a return to Fisk as a writer in residence.
He died June 4, 1973, from a heart attack while working on his autobiography. However, Sterling A. Brown and Aaron Douglas noted that his writings had not received the critical attention deserved, his work as a librarian and historian point to him as a great chronicler and a preserver of the documents of black cultural heritage. His family’s old Louisiana home is now the Arna Bontemps African American Museum and Cultural Arts Center.
Luciano Pavarotti was a best-selling classical singer and humanitarian known for his most original and popular performances with the ‘Three Tenors’ and ‘Pavarotti & Friends’.
He was born on October 12, 1935, in Modena, Emilia-Romagna, in Northern Italy. He was the first child and only son of two children in the family of a baker. His father, Fernando Pavarotti, was a gifted amateur tenor, who instilled a love for music and singing in young Luciano. His mother, Adele Venturi, worked at the local cigar factory. Young Pavarotti showed many talents. He first sang with his father in the Corale Rossi, a male choir in Modena, and won the first prize in an international choir competition in Wales, UK. He also played soccer as a goalkeeper for his town’s junior team.
In 1954, at the age of 19, Pavarotti decided to make a career as a professional opera singer. He took serious study with professional tenor Arrio Pola, who discovered that Pavarotti had perfect pitch, and offered to teach him for free. After six years of studies, he had only a few performances in small towns without pay. At that time Pavarotti supported himself working as a part-time school teacher and later an insurance salesman. In 1961 he married his girlfriend, singer Adua Veroni, and the couple had three daughters.
Pavarotti made his operatic debut on April 29, 1961, as Rodolfo in La Boheme by Giacomo Puccini, at the opera house in Reggio Emilia. In the following years he relied on the professional advise from tenor Giuseppe Di Stefano, who prevented Pavarotti from appearances when his voice was not ready yet. Eventually Pavarotti stepped in for Di Stefano in 1963, at the Royal Opera House in London as ‘Rodolfo’ in La Boheme by Giacomo Puccini, making his international debut. That same year he met soprano Joan Sutherland and the two began one of the most legendary partnerships in vocal history; Pavarotti made his American debut opposite Sutherland in February of 1965, at the Miami Opera.
Pavarotti was blessed with a voice of rare range, beauty and clarity, which was best during the 60s, 70s and 80s. In 1966 he became the first opera tenor to hit all nine “high C’s” with his full voice in the aria ‘Quel destin’ in ‘La Fille du Regiment’ (aka.. The Daughter of the Regiment) by Gaetano Donizetti. He repeated this feat in his legendary 1972 Met performance and was nicknamed “King of the High C’s” in rave reviews. Pavarotti’s popularity was arguably bigger than that of any other living tenor in the world. His 1993 live performance in New York’s Central Park was attended by 500,000 fans while millions watched it on television. During the 1990s and 2000s Pavarotti was still showing the ability to deliver his clear ringing tone in the higher register, albeit in fewer performances.
Luciano Pavarotti was also known for his humanitarian work. He was the founder and host of the ‘Pavarotti & Friends’ annual charity concerts and related activities in Modena, Italy. There he sang with international stars of all styles to raise funds for several worthy UN causes. Pavarotti sang with Bono and U2 in the 1995 song Miss Sarajevo and raised $1,500,000 in his charity project ‘Concert for Bosnia’. He also established and financed the Pavarotti Music Center in Bosnia, and raised funds in charity concerts for refugees from Afghanistan and Kosovo. Pavarotti made two Guinness World Records: one was for receiving the most curtain calls at 165; and the other was for the best selling classical album of ‘The Three Tenors in Concert’ with Plácido Domingo and José Carreras.
Andrew Carnegie was born on November 25, 1835, in Dunfermline, Scotland, the son of William Carnegie, a weaver, and Margaret Morrison Carnegie. The invention of weaving machines replaced the work Carnegie’s father did, and eventually the family was forced into poverty. In 1848 the family left Scotland and settled in Allegheny City, Pennsylvania. Carnegie’s father found a job in a cotton factory, but he soon quit to return to his home handloom, making linens and trying to sell them door to door. Carnegie also worked in the cotton factory, but after his father died in 1855, his strong desire to help take care of the family pushed him to educate himself. He became an avid reader, a theatergoer, and a lover of music.
Between 1865 and 1870 Carnegie made money through investments in several small iron mills and factories. He also traveled throughout England, selling the bonds of small United States railroads and bridge companies. Carnegie began to see that steel was eventually going to replace iron for the manufacture of rails, structural shapes, pipe, and wire. In 1873 he organized a steel rail company. The first steel furnace at Braddock, Pennsylvania, began to roll rails in 1874. Carnegie continued building by cutting prices, driving out competitors, shaking off weak partners, and putting earnings back into the company. He never went public (sold shares of his company in order to raise money). Instead he obtained capital (money) from profits—and, when necessary, from local banks—and he kept on growing, making heavy steel alone. By 1878 the company was valued at $1.25 million.
Carnegie spent his leisure time traveling. He also wrote several books, including “Triumphant Democracy” (1886), which pointed out the advantages of American life over the unequal societies of Britain and other European countries. To Carnegie access to education was the key to America’s political stability and industrial accomplishments. In 1889 he published an article, “Wealth,” stating his belief that rich men had a duty to use their money to improve the welfare of the community. Carnegie remained a bachelor until his mother died in 1886. A year later he married Louise Whitfield. They had one child together. The couple began to spend six months each year in Scotland, though Carnegie kept an eye on business developments and problems.
In retirement, Carnegie began to set up trust funds “for the improvement of mankind.” He built some three thousand public libraries all over the English-speaking world. In 1895 the Carnegie Institute of Pittsburgh was opened, housing an art gallery, a natural history museum, and a music hall. He also built a group of technical schools that make up the present-day Carnegie Mellon University. The Carnegie Institution of Washington was set up to encourage research in the natural and physical sciences. Carnegie Hall was built in New York City. The Foundation for the Advancement of Teaching was created to provide pensions for university professors. Carnegie also established the Endowment for International Peace to seek an end to war.
In all, Carnegie’s donations totaled $350 million. The continuation of his broad interests was put under the general charge of the Carnegie Corporation, with a donation of $125 million. Carnegie died on August 11, 1919, at his summer home near Lenox, Massachusetts.
Dr. Roland M. Carter has long been a world-acclaimed composer, arranger, conductor, pianist, teacher, and scholar. His outstanding contributions to the performance and preservation of American music, and especially that of African American musicians, have elevated him to the status of a leading figure in the nation’s choral arts. From presidential inaugurations to small-town churches, Brother Carter has brought music to the masses with a keen ear and a bright mind.
Music has always been a part of Carter’s life, even from the early years. His aunt, Anne Smith, traveled with a musical group called Wings Over Dixie. “She played the piano, and she could play everything from ragtime to stride piano,” Carter recalls. “There was always an instrument in the house.” After gaining an education from Hampton University in Virginia and New York University, Carter would spend just over twenty years as Director of Choral Music and Assistant Professor of Music at Hampton. In 1989, he would be offered a position at the University of Tennessee-Chattanooga (UTC). The opportunity to teach at the university, where almost thirty years prior, he was not allowed to enter because of his race meant a great deal. “To come back twenty-nine years later as department head was an affirmation of how far we’ve come, but also how far we had to go,” Carter says.
Named the UTC Holmberg Professor of American Music and retired in 2013, Carter accomplished much during his twenty-three-year tenure. He founded The Chattanooga Choral Society for the Preservation of African American Song and led several choirs. In 2003 he was awarded the Tennessee Governor’s Arts Awards as a Distinguished Artist and was elected to honorary membership of the internationally acclaimed Morehouse Glee Club in 2004. He also served as President of the National Association of Negro Musicians from 2002 to 2008.
In recognition of his contributions to his art and humanity, Brother Carter was named to Phi Mu Alpha’s inaugural class of Signature Sinfonians in 2006 and initiated into the Alpha Alpha Chapter of national honorary members. Just last Spring, Carter was recognized with a Master of Spirituals Award for his work preserving the religious music of African Americans.
More than a century after his public debut, the name Jascha Heifetz continues to evoke awe and excitement among fellow musicians. In a performing career that spanned 65 years, he established an unparalleled standard of violin playing to which violinists around the world still aspire.
Heifetz is widely considered to be one of the most profoundly influential performing artists of all time. Born in Vilnius, Lithuania — then occupied by Russia — on February 2, 1901, he became a U.S. citizen in 1925. Fiercely patriotic to his adopted country, he gave hundreds of concerts for Allied service men and women during World War II, including tours of Central and South America, North Africa, Italy, France, and Germany, often playing from the back of a flatbed truck in dangerous conditions.
In 1928, he published the first of dozens of acclaimed violin transcriptions. Many, including his arrangements of selections from Gershwin’s “Porgy and Bess,” are now part of the standard repertoire. Using the pseudonym Jim Hoyl, he even wrote a pop song that became a hit in 1946.
In his later years, Heifetz became a dedicated teacher and a champion of causes he believed in. He led efforts to establish “911” as an emergency phone number, and crusaded for clean air. He and his students at the University of Southern California protested smog by wearing gas masks, and in 1967 he converted his Renault passenger car into an electric vehicle.
As a result of his vast recorded legacy, Heifetz’s violin playing is no less influential today than it was in his lifetime. To legions of violinists he remains, quite simply, “The King.”
Coming from a musical family, trombonist Andy Martin launched his career while still in his teens. His technique and virtuosity quickly established him on the Los Angeles music scene. As an instructor, Martin has influenced countless young players. He has appeared at many colleges and universities throughout the country as a guest artist and clinician.
A world-class jazz musician and Yamaha Performing Artist, Martin is featured as leader or co-leader on twelve albums. These albums showcase his collaboration with other top jazz artists such as the late Carl Fontana, Pete Christlieb, Bobby Shew, and Eric Marienthal. He has also collaborated as a sideman with jazz greats such as Stanley Turrentine and Horace Silver. Martin had a long association with British bandleader and jazz promoter Vic Lewis and was the featured soloist on many of Vic’s CDs.
Martin is well known for his work as a lead player and featured soloist with virtually every big band in L.A. Martin is the lead trombonist and featured soloist with Gordon Goodwin’s Big Phat Band, the lead trombonist, and soloist for The Tom Kubis Band, and was a featured soloist for the Bill Holman Big Band for 15 years. He has appeared in bands led by Jack Sheldon, Louis Bellson, Quincy Jones, Matt Cattingub, Bob Curnow, Patrick Williams, and Sammy Nestico, among others.
Martin has long been one of L.A.’s most prominent trombonists for commercial recordings, television and motion picture soundtracks and live theater. He has contributed on albums for many popular artists, including the Pussycat Dolls, Coldplay, and Michael Bublé. His television credits include the Grammys, the Emmys, the Academy Awards, the Golden Globes and the Screen Actors Guild Awards. Martin has been the lead trombonist on television shows Dancing With The Stars and American Idol and has appeared regularly on the soundtracks of major television series such as Family Guy, American Dad, and King of the Hill. His motion picture credits span the soundtracks of over 150 major films.
Krzysztof Penderecki was born in Dębica on 23 November 1933. He studied composition privately with Franciszek Skołyszewski and then (1955-8) with Artur Malawski and Stanisław Wiechowicz at the State Higher School of Music in Kraków, where he also taught, being appointed its rector (i.e., president) in 1972 (in the 1980s the School was renamed “Academy of Music). Penderecki’s career had a very auspicious beginning. In 1959 he came suddenly to prominence when three of his works won first prizes in a national competition organized by the Polish Composers’ Union (he submitted them under different pseudonyms). His reputation quickly spread abroad, notably through perfomances of such works as Anaklasis (written for the 1960 Donaueschigen Festival) and Threnody for the Victims of Hiroshima. The latter piece, as well as the Passion according to St. Luke of 1963-5, found an unusually wide audience for contemporary works, and Penderecki soon received important commissions from diverse organizations in Europe and the USA. He has also appeared widely as a lecturer and in 1972 began to conduct his own compositions.
Penderecki has won numerous domestic and foreign prizes including the First Class State Award (1968, 1983), the Polish Composers’ Union Prize (1970), the Herder Prize (1977), the Sibelius Prize (1983), the Premio Lorenzo Magnifico (1985), the Israeli Karl Wolff Foundation Prize (1987), a Grammy Award (1988), a Grawemeyer Award (1992), and a UNESCO International Music Council Award (1993). He has honorary doctorates from universities in Rochester, Bordeaux, Leuven, Belgrade, Washington, Madrit, Poznań, Warsaw and Glasgow. He is an honorary member of the Royal Academy of Music in London, Accademia Nazionale di Santa Cecilia in Rome, Musikaliska Academien in Stockholm, Akademie der Kunste in Berlin, Academia Nacional de Bellas Artes in Buenos Aires, Academie Internationale de Philosophie et de I’ Art in Bern, Academie Internationale des Sciences, Belles-lettres et Arts in Bordeaux, and the Royal Academy of Music in Dublin. In 1990 he received the Great Cross of Merit of the Order of Merit of the Federal Republic of Germany, in 1993 the Order of Cultural Merit (Monaco), and in 1994 an Austrian honorary distinction For Achievements in Science and Arts. In 1993 he was decorated with the Commander’s Cross with the star of the Order of Polonia Restituta.
Penderecki’s teaching career developed in Germany, the U.S. and Poland. He taught composition at the Volkwang Hochschule fur Music, Essen (from 1966 to 1968); in 1973-78 he lectured at Yale University in New Haven. In 1982-87 he was rector of the Academy of Music in Kraków, in 1987-1990 he served as the artistic director of the Cracow Philharmonic. Since his conductor’s debut with the London Symphony Orchestra (1973), he has performed with prominent symphony orchestras in the United States and Europe, and he is chief guest conductor of the Norddeutscher Rundfunk Orchestra in Hamburg. Apart from his own works, his conducting repertoire covers the works of composers from various epochs, with a preference for 19th-century and early 20th-century compositions. In 1997 he published a book entitled “The Labyrinth of Time. Five Lectures at the End of the Century (Warsaw, “Presspublica”). In 1996 the performance of his piece Seven Gates of Jerusalem, commissioned by the city, commemorated the celebrations of “Jerusalem – 3000 Years.” in Israel.
Brother Marsalis was initiated at the Delta Epsilon Chapter in 1965 and in 2015 he was named the Fraternity’s 24th “Man of Music” at the 55th National Convention.
Born on November 14, 1934, his formal music studies began at age eleven at the Xavier University junior school of music. After high school, Marsalis enrolled in Dillard University as a clarinet major. He graduated in 1955 with a Bachelor of Arts degree in Music Education. Marsalis spent the next year working as an assistant manager in his father’s motel business.
The following year, Marsalis joined the U.S. Marine Corps. While stationed in southern California he honed his pianist skills as a member of the Corps Four, a Marines jazz quartet that performed on television.
Returning to New Orleans in 1966, he began freelancing on the local music scene. Between 1966 and 1974 Brother Marsalis would perform at the Playboy Club, Al Hirt nightclub, Lu and Charlie’s nightclub, Storyville nightclub Crazy Shirley’s as well as again enter the teaching profession, in 1967, as an adjunct professor of African American Music at Xavier University.
In 1986, Marsalis accepted a teaching position out of state. He became a Commonwealth Professor at Virginia Commonwealth University, serving as coordinator of Jazz Studies two of his three years there. In 1989, he returned to New Orleans to become the first occupant and Director of the Coca-Cola Endowed Chair of Jazz Studies at the University of New Orleans.
During his tenure at UNO, he helped colleague Charles Blancq develop a campus performance center called the Sand Bar. Marsalis would also develop a Jazz Orchestra, which he took, on the eve of his retirement, on a tour of Brazil. On August 10, 2001, Marsalis officially retired from the University of New Orleans after twelve years of dedicated service. His retirement was celebrated by a very rare performance of his sons Branford, Wynton, Delfeayo and Jason Marsalis at the UNO arena.
In 2011, Brother Marsalis and his family were awarded the highest honor in Jazz, NEA Jazz Masters, the first group award ever distributed by the National Endowment for the Arts.
George Eastman was born in Waterville, New York, on July 12, 1854. His father, George W. Eastman, ran a business college in Rochester, New York; his mother, Maria Kilbourn, took care of young George and his two older sisters. His father died when he was seven, two years after the family moved to Rochester. His mother was forced to take in boarders to add to the family’s small income. George was educated in Rochester public schools but dropped out at age thirteen to work and help his mother. He advanced from messenger to bookkeeper in the Rochester Savings Bank by 1877. He was always careful with money, spending it only on his hobby, amateur photography. When photographic chemicals among his cameras and supplies ruined his packed clothes on a trip to Mackinac Island, he became disgusted with the wet-plate process of producing photographs.
In the 1870s American photography was still time-consuming, difficult, and expensive. Equipment included a huge camera, strong tripod (a three-legged stand), large plateholder, dark tent, chemicals, water container, and heavy glass plates. Eastman experimented using dry plates. He was the first American to contribute to the improvement of photographic methods by coating glass plates with gelatin, a gummy substance, and silver bromide, a chemical. In 1879 his coating machine was patented in England, and in 1880 he received an American patent for it. He sold his English patent and opened a shop to manufacture photographic plates in Rochester. To do away with glass plates, Eastman coated paper with gelatin and photographic chemicals. The developed film was stripped from the paper to make a negative. This film was rolled on spools. Eastman and William Walker created a lightweight roll holder that would fit any camera.
In 1888 Eastman designed a simple camera, the Kodak (a word created by Eastman; it has no meaning), which was easy to carry and made focusing and adjusting the light unnecessary. With a hundred-exposure roll of film, it sold for twenty-five dollars. After taking the pictures and sending the camera and ten dollars to the Rochester factory, the photographer received his prints and reloaded camera. Eastman’s slogan, “You press the button, we do the rest,” became well known. Eastman expected that photography would soon become more popular, and in 1892 he established the Eastman Kodak Company.
Eastman’s staff worked on other scientific problems as well as on photographic improvements. During World War I (1914–18) his laboratory helped build up America’s chemical industry to the point where it no longer depended on Germany. Eventually America became the world leader. Eastman cared about his employees; he was the first American businessman to grant workers shares in the profits made by the company. He also gave away large amounts of his huge fortune to the University of Rochester (especially the medical school and Eastman School of Music), Massachusetts Institute of Technology, Hampton Institute, Tuskegee Institute, Rochester Dental Dispensary, and several European dental clinics.
Beloved by audiences, lauded by critics and composers, and revered by singers, Johnson is known for crafting musical journeys that create deep connections between performers and listeners. The Wall Street Journal praised his ability to “find the emotional essence other performers often miss,” and Fanfare wrote that “Craig Hella Johnson has assembled and molded a first-rate choir to be respected as highly as the best we have had.” Distinguished composer John Corigliano wrote, “I believe that [Johnson] has understood my music in a way that I have never experienced before. He is a great musician who understands everything about the music he conducts.” Composer and collaborator Robert Kyr observed, “Craig’s attitude toward creating a community of artists who work together to interpret the score … goes beyond technical mastery into that emotional depth and spiritual life of the music.” Of Johnson’s performance of Beethoven’s Missa Solemnis, the San Antonio Express-News wrote: “Through all the amazing ebbs and flows of dynamics, the radiant balances, the seamless connection of episodes, the theatrically astute tempo relations, the unified structural arc, the music shone forth with organic naturalness. Nothing sounded fussed over. Everything just sounded right.”
Johnson is also Music Director of the Cincinnati Vocal Arts Ensemble and conductor emeritus of the Victoria Bach Festival. He was Artistic Director of San Francisco-based Chanticleer (1998-1999) and has served as guest conductor with the Austin Symphony, San Antonio Symphony, and many others in Texas, the U.S., and abroad. As the Director of Choral Activities at the University of Texas at Austin from 1990-2001, Johnson led the graduate program in choral conducting. He remains an active educator, teaching nationally and internationally with professionals and students at conferences and universities. He is also a frequent speaker at regional and national conferences of the American Choral Directors Association. Craig Hella Johnson joined the faculty at Texas State as Artist in Residence in fall 2016 and continues to inspire his colleagues and students in innovative teaching and programming as Professor of Practice.
A composer and arranger, Johnson works with G. Schirmer Publishing on the Craig Hella Johnson Choral Series, featuring specially selected composers as well as some of his original compositions and arrangements. His works are also published by Alliance Music Publications. A unique aspect of Johnson’s programming is his signature “collage” style: through-composed programs that marry music and poetry to blend sacred and secular, classical and contemporary, traditional and popular styles. In 2006 he was engaged to create a special peace-themed collage program for the North Central ACDA convention, and in 2007 by the famed St. Olaf Choir to create and conduct a collage program during a five-week residency. Craig’s first concert-length composition, Considering Matthew Shepard, was premiered in 2016 by Conspirare .
A Minnesota native, Johnson studied at St. Olaf College, the Juilliard School, and the University of Illinois and earned his doctorate at Yale University. As the recipient of a National Arts Fellowship, Johnson studied with Helmuth Rilling at the International Bach Academy in Stuttgart, Germany. He has been a Texas resident since 1990.
Born December 15, 1911, in Wichita, Kansas, Kenton left the state with his family when he was six weeks old. Although he spent little time in Kansas, he still considered it his home state and Wichita his hometown. Many times he returned to Wichita to perform and he always received a hometown reception.
Kenton was unique in several ways. As an artist he was never satisfied to remain within the defined limits of the type of music he was performing. He was quoted in a newspaper interview as stating, “No art form lasts for an eternity. The moment of creation is the most potent time; then it diminishes until it finally has no meaning for the society around it.” With this as his philosophy of music, Kenton was a constant target of music critics that attacked his compositions because they did not conform to the status quo. He paid little attention to his critics or the rules he was supposed to follow.
Perhaps the most unique part of Kenton’s personality was his innovativeness. In another newspaper interview he commented, “I have a problem with myself. I’m just not much for the past. When guys come around to talk about the good old days, I’m not much interested. I’m more concerned with what’s happening next.” His innovations included pioneering the form of jazz called, “Third Stream,” which is a blending of American jazz with European classical music. In the 1960s he experimented with a band featuring the mellophonium, which was a cross between a trumpet and a trombone. Later in the decade he established the Neophonic Orchestra, which was the first permanently established orchestra in the world devoted to contemporary music. He also made a habit of conducting clinics at universities. The clinics were his way of teaching young people his art and also ensuring that his brand of music would not die. Kenton died in California on August 25, 1979, but his music survives.
Astronaut Winston E. Scott was initiated into the Epsilon Iota Chapter in 1970. Raised in Miami, Brother Scott’s largely segregated education provided little access to resources, but his own determination combined with the dedication of his teachers set him on an inspiring path of achievement. His journey to the stars is a testament to the power of perseverance and vision.
Scott was selected by NASA and reported to the Johnson Space Center in August 1992. He served as a mission specialist on STS-72 in 1996 and STS-87 in 1997 and has logged a total of 24 days, 14 hours and 34 minutes in space, including 3 spacewalks totaling 19 hours and 26 minutes. During his time in space, he evaluated techniques utilized in the assembly of the International Space Station and several experiments such as the effects of zero gravity on physical functions of the human body.
Before joining NASA, Brother Scott earned a distinguished record of service as a naval aviator and officer. While on active duty he served as a fighter pilot, production test pilot, and as a research and development project pilot. He has accumulated more than 5,000 hours of flight time in more than 20 different aircraft.
In 2009 Brother Scott was named a Signature Sinfonian by Phi Mu Alpha. He is a published author, currently serving as the Senior Vice President for External Relations and Economic Development at Florida Institute of Technology. Scott also leads the Cosmic Jazz Ensemble as a trumpeter and directs the advanced jazz ensemble at the institute. As a musician, Navy veteran, and astronaut, Scott spends all the time he can inspiring the next generation to take on the mantel of discovering a bright new future for humanity.
Ellas McDaniel, who performed under the stage name “Bo Diddley,” was an American singer, guitarist, songwriter who shook the foundations of the blues on its way to what we know as rock ‘n’ roll.
Brother McDaniel was a 1999 initiate of the Eta Omega Chapter at the University of Florida. Born as Ellas Otha Bates, he was adopted and raised by his mother’s cousin, Gussie McDaniel, whose last name he took as his own. From a very early age, McDaniel took up a fascination with fast-paced, rhythmic music and started learning how to play guitar. He spent many of his early days as a young artist performing on street corners of Chicago with friends. This led him to join forces with musicians like Earl Hooker, Roosevelt Jackson, and Jody Williams.
By 1951, Brother McDaniel’s unique sound had landed him a regular spot at 708 Club on Chicago’s southside. Just four years later his first hit single would reach No. 2 on the Billboard singles chart. By the start of the 1960s, McDaniel had revolutionized rock ‘n’ roll with his music and his one of a kind persona. Although the market seemed to dwindle for his music in the United States, McDaniel quickly saw an emerging demand in Europe that paved the way for a tour of Britain performing with Little Richard, the Everly Brothers, and the Rolling Stones.
Work in recording for McDaniel had practically dried up by the 1970s and he relocated to New Mexico where he served as a deputy sheriff for the town of Los Lunas for nearly three years. McDaniel continued to appear as a performer and public figure well into the new millennium. He was inducted into the Rock and Roll Hall of Fame in 1987 and the National Academy of Recording Arts and Sciences Hall of Fame in 1998. The final album he recorded, “A Man Amongst Men,” was nominated for a Grammy in 1996.
Brother McDaniel made his mark as a musical pioneer, one of many that changed the course of modern popular music as know it today. He will always be remembered as a musician of lasting historical importance.
Alvin Batiste was initiated at the Mu Psi Chapter at Southern University in 1973. He was a composer, performer, and longtime educator at Southern University.
Initially, Batiste had no real interest in playing the clarinet. It wasn’t until he heard Charlie Parker’s recording of “Now’s the Time” that he had any interest. After that moment, he was so inspired and began practicing regularly and applying himself in high school.
For a few years, after graduating from Booker T. Washington High School, Batiste picked up small time gigs backing local musicians and artists. Eventually, he began schooling at Southern University, where he studied classical music almost exclusively.
While at Southern he had affectionately earned the name “Mozot” after being selected to play Wolfgang Mozart’s concerto for clarinet and orchestra with the New Orleans Philharmonic Orchestra. He had been the first African American student to chosen to play such a feature.
Soon after graduating from Southern University, Batiste left for the city of Los Angeles in 1956. Two years later, he had caught a break and began touring with legendary musician Ray Charles. Perhaps one of the most memorable moments of his tour was the moment Batiste reportedly upstaged the “Genius of Soul” by playing a brilliant solo during the set. He was later chastised but took it in good nature. The incident led him to later compose the piece “Ray’s Segue.”
Midway through the 1960s, Batiste was completing a master’s degree at Louisiana State University back in his home state. After joining the faculty at Southern University in 1969, he founded the Jazz Institute, which would later be renamed the Alvin Batiste Jazz Institute. He continued to teach there for seventeen years. Several musicians who studied under Batiste became icons in the world of jazz, including saxophonist Branford Marsalis and pianist Henry Butler, both Brothers in Phi Mu Alpha.
Alvin Batiste’s later career focused towards the studio recording of several albums, continuous practice, and tours with the Batiste Jazz Institute’s band, the “Jazztronauts.” Beyond his talent, hit albums, fame, and countless awards, Batiste was given the title and award of “Signature Sinfonian” in 2007 before passing away at the age of 74. Alvin Batiste was admired by many for his caring nature and personal influence.
Famed American jazz and blues pianist, Henry Butler, is quoted as saying the following about Batiste;
“He was not only a teacher, he was my father away from home. He taught us about music, the history of music and the business of music.”
George Whitefield Chadwick was born in Lowell, Massachusetts on November 13, 1854. His mother died shortly after his birth. His father remarried and George quickly learned to become self-reliant. As a youngster, he received brief musical instruction from his brother. Both his father and brother participated in the great 1869 Peace Jubilee in Boston, as members of the 10,000-member chorus. That massive concert had a strong impact on the 15-year-old Chadwick. In 1871, he dropped out of high school in order to devote more time to the study of music. To pay for music lessons, he became a clerk in his father’s successful insurance business. One year later, he entered the New England Conservatory of Music as a special student and assumed the post of organist at a Congregational church.
In 1876, against his father’s wishes, Chadwick accepted a one-year position at Olivet College, Michigan. The same year, Theodore Presser enlisted him as a founding member of the Music Teachers National Association. At the inaugural meeting in Delaware, Ohio, Chadwick delivered a paper titled “Popular Music–Wherein Reform Is Necessary.”
Determined to have a broad music education, he traveled the next year to Europe. After studying for three months in Leipzig with Salomon Jadassohn, he entered the Leipzig Conservatory, where his success as a composer began. Chadwick’s String Quartet No. 2 in C Major and concert overture Rip Van Winkle received critical acclaim, the latter work winning the Conservatory’s award as the best composition of 1879. That autumn, he decided to gain additional training at the Königliche Musikschule in Munich, where he studied organ and composition with Joseph Rheinberger.
Chadwick returned to Boston in 1880, where one of his first private pupils was the young Horatio Parker. That year, the venerable Handel and Haydn Society invited him to conduct his Rip Van Winkle overture. During the next season, The Arlington Club performed his Margarita for men’s chorus, and the Apollo Club presented The Viking’s Last Voyage. In 1882, he accepted positions as organist at the Park Street Church and on the faculty of the New England Conservatory of Music. He assumed the directorship of the Conservatory in 1897, a position he held until 1930. Under his leadership, the conservatory modernized its curriculum and adopted a more European model. Chadwick instituted an opera workshop and a repertory orchestra. Orchestration and harmony courses were based on the study of concrete musical examples rather than abstract principles. His textbook, Harmony: A Course of Study (1897) experienced such success that it was reissued in 74 subsequent editions.
He devoted much time to administrative and teaching duties at the conservatory, composing mostly during the summers on Martha’s Vineyard. He developed and regularly conducted the conservatory’s orchestra and also served as director of the Springfield Festival (1890-99) and the Worcester Festival (1897-1901). He composed Phoenix expirans (1892) for the Springfield Festival and his largest score, the lyric drama Judith, for the Worcester Festival. In his later years, his verismo opera The Padrone was rejected by the Metropolitan Opera, but he experienced success with major choral and orchestral works at the Norfolk Festival. These include his Christmas oratorio Noël (1907-08) and a tribute to his Celtic heritage, the symphonic ballad Tam O’Shanter (1914-15).
Chadwick is often dubbed the dean of American composers because of his position as conservatory director, his textbooks, and his teaching. He directly influenced important turn-of-the-century composers such as Horatio Parker, Daniel Gregory Mason, Frederick Converse, and William Grant Still. He received honorary degrees from Yale (A.M., 1897) and Tufts (LL.D., 1905). He was a member of the National Institute of Arts and Letters (1898) and the American Academy of Arts and Letters (1909). George Whitefield Chadwick died on April 4, 1931.
Horatio William Parker was born in Auburndale, Massachusetts, on September 15, 1863. He received his earliest musical training from his mother, Isabella Jennings Parker, who instructed him in piano, organ, and music theory. He went on to study with pianist John Orth, theorist Stephen Emery, and composer George Chadwick, with whom Parker maintained a lifelong friendship. Although he began composing small pieces during this early period, Parker’s first major works were composed under the tutelage of Josef Rheinberger while he was attending the Hochschule für Musik in Munich from 1882 to 1885.
From 1885 to 1893, Parker worked as organist and choirmaster at a series of churches in New York: St. Luke ‘s in Brooklyn, St. Andrew’s in Harlem, and the Church of the Holy Trinity in Manhattan. His church music career in New York led to the composition and publication of a significant number of anthems and other sacred works. Parker’s increasing recognition as a prominent young composer culminated in 1893, when he received the National Conservatory prize in composition for his cantata Dream-King and His Love and the Church Choral Society of New York commission and performance of his oratorio, Hora novissima.
Parker left New York in the fall of 1893 to take a position at Boston’s Trinity Church. After only one year in Boston, he relocated to New Haven, Connecticut, to accept the Battell Professorship in music at Yale University. Parker’s new career direction, in a faculty position that he would hold through the end of his life, established him as a leading educator of young American composers. His students at Yale included Charles Ives, Seth Bingham, Quincy Porter, and Roger Sessions. Parker became dean of the School of Music at Yale University in 1904.
The popularity of Parker’s choral compositions extended beyond the United States. In 1899, Parker conducted a performance of Hora novissima at the Three Choirs Festival in Worcester, England, becoming the first American composer to participate in the prestigious event. A major new commission, The Wanderer’s Psalm, and other British festival performances of his works occurred in the years to follow. On June 10, 1902, Parker was awarded an honorary doctor of music degree from Cambridge University.
In addition to teaching and composing, Parker continued to cultivate his career as a choral and orchestral conductor. He was the principal conductor of the New Haven Symphony Orchestra from 1895 to 1918 and the director of the Derby Choral Club from 1904 until his death in 1919. In 1903, Parker founded the New Haven Oratorio Society, and in 1907 he became the director of Philadelphia’s Orpheus Club male chorus and its sister group, the Eurydice Chorus.
Arthur Foote was born in 1853 in Salem, Massachusetts, and grew up in Boston. After beginning his music education at age twelve, he studied harmony at the New England Conservatory before entering Harvard College in 1870. There he studied counterpoint and fugue with John Knowles Paine. He also led the Harvard Glee Club (1872-74), where he gained practical experience in working with voices. One year after graduating, Foote returned to Harvard to earn a Master of Arts degree in music, the first granted by an American university.
While working on his master’s degree, Foote studied organ with B. J. Lang, one of the leading musical figures in Boston and the city’s foremost choral conductor. Lang led the Apollo Club and Cecilia Society in Boston premieres of new works by Berlioz, Wagner, and others. He also championed choral works by American composers and was instrumental in convincing Foote to pursue a musical career. In 1876, Foote accepted the post of organist at the Church of the Disciples. Two years later he moved to the First Unitarian Church, where he served as organist for more than thirty years. During his tenure there, he edited two Unitarian hymnals in 1890 and 1896. He was one of the founders of the American Guild of Organists in 1896 and served as national president from 1909 to 1912.
During his lifetime, his compositions in the area of chamber music brought him most acclaim, including performances at the World Exposition of 1893. Several of his orchestral compositions were premiered by the Boston Symphony. The Suite in E Major, op. 63, was championed by Serge Koussevitzky and achieved great popularity. His Four Character Pieces after the Rubáiyát of Omar Khayyám, op. 48, received praise for its colorful orchestration.
Foote’s list of vocal compositions includes one hundred songs, fifty-two part-songs, and thirty-five anthems. He wrote three choral-orchestral works on texts of H. W. Longfellow: The Farewell of Hiawatha (1885), The Wreck of the Hesperus (1888), and The Skeleton in Armor (1891). After the first performance of The Farewell of Hiawatha, led by Foote’s mentor B. J. Lang, the composer sent the score to composer/conductor Dudley Buck in hopes of gaining a performance by Buck’s groups in Brooklyn. Buck answered that he was very interested in programming American works, but he offered one slight criticism: “Don’t write too high continuously for American tenors. It is not the compass per se, — that we have, but the sustaining of reiterated high tones as compared with German voices.”[1] In his anthem writing, on the other hand, Foote intentionally tried to write pieces that were accessible to the congregation and easy for the singers. He was perplexed, therefore, that his most popular anthem, Still, Still with Thee, was one of his most difficult.
Rochester native Chuck Mangione was born into a large, music-loving family.
Chuck has often recalled that his father, a tremendous jazz fan, invited touring musicians who were performing in Rochester home for a good Italian dinner and some wine. While he was still a boy, Chuck had met a Who’s Who of 1950s jazz royalty, including such great artists as Art Blakey, Sarah Vaughan, and the man he claimed as a “musical father,” Dizzy Gillespie.
With so much great music in his childhood, it is no surprise that Chuck attended the Eastman School of Music, playing trumpet and graduating in 1963 with a Bachelor’s degree in music education. BY that time he had recorded several albums with pianist brother Gap, performing as The Jazz Brothers.
In 1968, Chuck Mangione returned to Eastman, directing the Eastman Jazz Ensemble until 1972 and helping to expand the School’s jazz programs. In 1970, he also presented the famous Friends and Love concert with the Rochester Philharmonic Orchestra, which was recorded for Mercury Records and shown numerous times on PBS. When Chuck left Eastman, he was well on his way to “household name” status as a composer, arranger, flugelhorn player, and bandleader.
Within the next ten years, Chuck had won two Grammy awards and an Emmy, and his album Feels So Good became one of the most successful jazz albums ever produced. An estimated 90,000,000 people heard Chuck perform at the closing ceremonies of the 1980 Winter Olympics in Lake Placid. An honorary doctorate from the University of Rochester in 1985 put Chuck in the company of such American musical icons as Aaron Copland, Isaac Stern, and Rudolf Serkin. In May 2007, Chuck received Eastman’s Alumni Achievement Award at a concert recreating Friends and Love.
Newsweek began a profile of him with the words: “Chuck Mangione makes jazz that sounds the way he looks – ingenious, upbeat, and instantly likeable.” For his own part, Chuck has said, “If you’re honest and play with love, people will sit down and listen … My music is the sum of all I have experienced.”
Heralded as a “living legend” by the African Diaspora Sacred Music and Musicians Program, Brother André Thomas has conducted several ensembles worldwide. He continues to inspire countless people to a greater love of the arts through personal philosophy and independent musical growth.
Thomas was initiated into the Zeta Phi Chapter at Friends University in 1971. From an early age, he grew up listening to his mother sing in church, and this is where his fascination with music would begin. While he had taken some piano lessons from members of the church, Thomas was predominantly self-taught in his early years. It wasn’t until high school that he would take piano lessons formally. Thomas was attracted by the energy and passion of the choral groups of Friends University in Wichita, Kansas, where he began his collegiate education. After a few years of teaching vocal music in public school systems, Brother Thomas pursued a master’s degree in piano performance at Northwestern. He later earned his doctorate under the guidance and mentorship of Harold A. Decker (Gamma Sigma, Wichita State University, 1947). Decker was responsible for creating the first Doctor of Musical Arts program in choral music in the United States. It was Decker’s guidance, Thomas recalls, that taught him how to run a graduate program where the welfare and development of the student is the highest priority.
Throughout his career, Brother Thomas has been known as a conductor, composer, professor, and author. He was named an Owen F. Sellers Professor of Music by Florida State University and appointed recently as Professor of Choral Conducting and Interim conductor of the Yale Camerata for 2020-2021. Thomas has received several awards for his service, including the Robert Shaw Award in 2017, the American Choral Directors Association’s highest honor. As an author, Thomas is renowned for his book, “Way Over in Beulah Lan’,” a work dedicated to understanding the Negro Spiritual. The first of the book’s two sections includes an exploration of the beginnings of the spiritual, its role in society, and its transition into art music. The second section is a study of performing the spiritual, exploring text, diction, rhythm, and tempo.
Music all together is a fusing of mind, body, and spirit. Music enables people to cope with issues that arise out of the human condition, and Brother Thomas believes that music aids in the exploration of the emotions that make us human. Most importantly, he endorses the idea that music is cathartic, and that it can be used to bring people together from diverse racial, cultural, social, and economic backgrounds. For Thomas, this is the real power of music.
Dr. Sigmund Spaeth was a man who worked to promote the idea that “music should not be limited to people of talent” but rather that music should be enjoyed by everyone, listeners, and performers alike.
Brother Spaeth was a charter member of the Iota Chapter of Phi Mu Alpha at Northwestern University in 1910. His name as a composer and musicologist was interwoven with American music for several decades from the early 1920s through the late 1940s. After attending Haverford College (where he would compose the alma mater) he earned a doctorate degree from Princeton University. Spaeth was a well-known music critic on several newspapers including the “New York Times” and “The Boston Evening Transcript.” He would also compose music for the movies “Show Boat” and “The Trespasser.”
Spaeth was the author of several books such as “A History of Popular Music in America” and “The Common Sense of Music.” These works helped show the ties between popular songs of the time and old American folk songs. His vast knowledge of musical heritages led to the premiere of his NBC programs “Keys to Happiness” and “The Tune Detective.” On many occasions, he was sought out as an expert witness in the courtroom testifying against musical plagiarism. As a passionate supporter of barbershop quartet singing, Spaeth would spend much time outside of his profession organizing musical groups for the blind and arranging to have records sent to servicemen overseas.
In 1958, Brother Spaeth was named Phi Mu Alpha’s 4th “Man of Music” at the 35th National Convention for his contributions to American art and culture as well as his study of the origins of American popular music.
Michael Leckrone served as the longtime Director of the Marching Band and Director of Bands at the University of Wisconsin. A native of Indiana, Brother Leckrone received his Bachelor and Master of Music degrees from Butler University in Indianapolis and has continued his studies at the doctoral level at Indiana University. Before coming to Wisconsin he taught at his alma mater, where he developed one of the finest marching bands in the Midwest. He is in constant demand as a clinician, guest conductor and adjudicator for concert and marching bands throughout the United States and Canada, and his experience also includes considerable professional work as an arranger, composer, and performer.
Leckrone holds memberships in numerous professional organizations, as well as such honorary fraternities as Kappa Kappa Psi, Phi Kappa Lambda, Phi Kappa Phi, and Phi Beta Mu. He is a 30-year member of ASCAP and has been elected to the American Bandmasters Association. In 1970 he was cited as an “Outstanding Educator of America” by the Outstanding Americans Foundation, in 1973 was awarded the “Outstanding Bandmaster Award” by the Wisconsin Chapter of Phi Beta Mu, and in 1986 was presented with a Citation of Excellence by the National Band Association. He is a recipient of the “Pat O’Dea Award,” the “Blue Line Club Distinguished Service Award,” the “Badger Basketball Boosters Distinguished Service Award,” the UW Alumni Club “Distinguished Faculty Award,” the Wisconsin Newspaper Writers “Special Edition Award,” and the Wisconsin Sports Hall of Fame “Good Guy” award. Brother Leckrone was recently inducted into the Wisconsin Hockey Hall of Fame as well as the Wisconsin Football Hall of Fame and has been commissioned a “Kentucky Colonel” by the Governor of Kentucky. He has been honored as “Father of the Year” by the American Diabetes Association; has been cited a “Badger Legend” by the Governor of Wisconsin and was named one of 10 Madison Musical Legends by Madison Magazine as well as designated one of the Wisconsin State Journal’s “Sesquicentennial People of Note,” and was recently selected to be an honorary member of the National “W” Club. The University of Wisconsin has also honored him with an appointment to a prestigious “John Bascom Professorship.” In 2007 he was presented with a “Lifetime Achievement Award” by the Wisconsin Foundation for School Music, (this was only the second time this preeminent award had been conferred), and in 2010 the Wisconsin State Historical Society presented him with the “Spencer Tracy Award for Distinction in the Performing Arts”, and in 2013 the Madison Area Music Association named him the recipient of the Michael St. John Lifetime Achievement Award.
Micheal has composed or arranged music for numerous high school and university bands, and over 200 of his arrangements and compositions for marching band and concert band have been published. He is also the author of two texts for use by marching band directors, a handbook for band arranging and a text dealing with popular music in the United States. Mr. Leckrone is now entering his 50th year as director of the Wisconsin Band.
Henry Butler was initiated into the Mu Psi Chapter at Southern University in 1969. Butler’s music is a cornerstone of the New Orleans sound and was described by Jon Pareles of the New York Times as “encyclopedic, precise, and wild.” Although Butler would eventually resettle in Brooklyn during the aftermath of Hurricane Katrina in 2005, the city of New Orleans always stayed close to his heart.
Brother Butler was blinded by glaucoma at a very early age and began schooling at the Louisiana State School for the Blind (now the Louisiana School for the Visually Impaired) studying classical music. However, Butler always held great interest in the “New Orleans Guys” whom he would hear on the radio. He would later attend Southern University where he was mentored by clarinet legend Alvin Batiste (Mu Psi) and earned a bachelor’s degree in voice with a minor in piano.
After earning a master’s degree in music from Michigan State University Brother Butler returned to Louisiana and quickly began making a name for himself. He became known for his technique and his ability to play in many styles of music. Butler was often seen playing with up to four different groups at the same time featured as a soloist and a sideman. He would also record several albums from 1986 to 2014.
Butler viewed himself as a teacher and he served as an associate professor at Eastern Illinois University from 1990 to 1996. Three years into teaching at the university he organized his first workshop for blind/visually impaired teens. He would continue to hold the workshop at different locations across the country annually until 2003. Brother Butler saw himself as always teaching but also, always learning – musically and personally as he said, “It is what we are constantly doing on this journey here, becoming more of who we can be.”
Heeeeere’s Johnny!” That lead-in, followed by a big band trumpet blast, was the landmark of late night television for three decades. The ‘Johnny’ was Johnny Carson, the announcer was Ed McMahon and the bandleader was Doc Severinsen. Beginning in October 1962, The Tonight Show with Johnny Carson ruled the night air for thirty years. On May 22, 1992, it came to an end…
Within a week of the final telecast, Doc Severinsen and His Big Band were on the road, and to this day, audiences across America love and respect Doc and his big band, not just because he shared their living room with them for so many years, but because of Doc’s love of the Big Band repertoire. His musicianship keeps this iconic American music fresh to this day. Their repertoire includes Ellington and Basie standards, pop, jazz, ballads, big band classics and, of course, The Tonight Show theme. Severinsen can still blow hard with his horn, and hit the high notes, a result of his continued commitment to the practice studio and the refinement of his craft. But as a band leader, Doc continues to surround himself with the best in the business, and he’s only too happy to give them a turn in the spotlight.
A Grammy award winner, Doc has made more than 30 albums–from big band to jazz-fusion to classical. Two critically acclaimed Telarc CDs with the Cincinnati Pops Orchestra showcase his multifaceted talents from Bach to ballads. The Very Best of Doc Severinsen reprises fifteen of Doc’s signature pieces. His other recordings include Unforgettably Doc with the Cincinnati Pops on Telarc, and the Grammy nominated Once More With Feeling on Amherst. He received a Grammy Award for “Best Jazz instrumental Performance – Big Band” for his recording of Doc Severinsen and The Tonight Show Band-Volume I.
Severinsen’s accomplishments began in his hometown of Arlington, Oregon, population: 600. Carl H Severinsen was born on July 7th, 1927, and was nicknamed “Little Doc” after his father, Dr. Carl Severinsen a dentist. Little Doc had originally wanted to play the trombone. But Doc Sr., a gifted amateur violinist, urged him to follow in his father’s footsteps. The Doc Jr. insisted on the trombone, which turned out to be unavailable in tiny Arlington’s music store. And so, a trumpet it would be. A week later, with the help of his father and a manual of instructions, the seven-year-old was so good that he was invited to join the high school band. At the age of twelve, Little Doc won the Music Educator’s National Contest and, while still in high school, was hired to go on the road with the famous Ted Fio Rito Orchestra. However, his stay with the group was cut short by the draft. He served in the Army during World War II and following his discharge, landed a spot with the Charlie Barnett Band. When this band broke up, Severinsen toured with the Tommy Dorsey, then, the Benny Goodman bands in the late 40’s.
After his days with Barnett and Dorsey, Doc arrived in New York City in 1949 to become a staff musician for NBC. After years of playing with NBC’s many studio bands, Doc was invited to play a gig in the highly respected Tonight Show Band. The band leader at the time, Skitch Henderson, asked him to join that band in 1962 in the first trumpet chair. Five years later, Doc became the Music Director for The Tonight Show and the rest is history. His loyalty to Johnny Carson and Ed McMahon never faltered, and the warm camaraderie between the three was an enormous part of the show’s success. When Johnny decided to retire from The Tonight Show, Doc and Ed said their goodbyes as well. Of course, free from the nightly grind of the TV studio, Doc Severinsen had far more time to expand his musical horizons and continues to keep an extensive touring schedule.
Today, Doc has not lost his flair for the outrageous fashion statement or his trademark wit. But his gregarious nature has never interfered with the fact that he has been one of the greatest trumpeters and musicians of the last 60 years, respected in the worlds of classical music, jazz, big band, and now even world music. In the end, Doc Severinsen has transcended his celebrity, and rejoiced in his remarkable ability to simply play his trumpet as well as he can. Which has proven to be good enough for the millions of people who count themselves his fans.
A Spanish guitarist and composer, Carlos Montoya made a lasting contribution to music between the 20s and 50s. He introduced the flamenco style of music as a serious form of guitar music. Traditionally flamenco music was used to accompany gypsy folk dancers and singers but Carlos Montoya changed it into a main genre of music.
Carlos Montoya was born into a gypsy family in Spain. His interest in music and the guitar began at an early age. He began studying the guitar with his mother and a neighboring barber, eventually learning from Pepe el Barbero, a guitarist and teacher. Not only was he interested in playing the guitar, Carlos Montoya wanted to learn the history of flamenco music. Flamenco music came out of the Moorish invasion of Spain. His uncle, Ramon Montoya, was a successful flamenco guitarist also. Carlos Montoya started playing professionally at the age of 14, playing for singers and dancers at the cafes in Madrid. Two of the dancers he most often played for were La Teresina and La Argentina.
Wanting to broaden his musical career, Carlos Montoya began touring in the 20s and 30s. His tours included performances in Europe, Asia and North America. He accompanied several performers including La Argentina again. He had finally made a name for himself as a flamenco guitarist.
When World War II broke out in the 1940s, Carlos Montoya was on tour in the United States with dancer La Argentinita. During the war he decided to settle in New York City and eventually became a United States citizen. In 1945 La Argentinita died but Carlos Montoya toured on his own, opening his repertoire to include not only flamenco but also blues, jazz and folk music.
His career took a different turn in 1948 when he began touring with symphonies and orchestras and performing his own guitar recitals. Carlos Montoya became the first flamenco guitarist to tour the world with symphonies and orchestras. His appearances did not stop there, he performed on television and gave several solo recitals. During his touring he recorded more than 40 albums, some with symphonies and orchestras. His albums include Flamenco Guitar and The Art of Flamenco. One of the most notable is Suite flamenco, a concerto he performed with the St. Louis Symphony Orchestra in 1966.
Carlos Montoya made a very important contribution to flamenco music, transforming it from a dance accompaniment to a style of its own. With his own style, he adapted it to other genres of music, all along making himself an international star.
Henry Ziegler Steinway is the great-grandson of Henry Engelhard Steinway who founded Steinway & Sons, which handcrafts, what many consider to be, the world’s finest pianos.
Born on August 23, 1915 in a New York City apartment that replaced the original Steinway factory, Steinway grew up surrounded by pianos and the famous artists who performed on them. Such artists included Alexander Brailowsky, Sergei Rachmaninoff, and Arthur Rubenstein, among many others.
Steinway’s father, Theodore, never pressured his six children to enter the family business. That may explain why the younger Steinway graduated from Harvard University with a degree in history, not music or business administration. Of course, even a business degree from Harvard probably would not have spared him from his apprenticeship as a laborer in the Steinway factory yard, when he ultimately joined the company in 1937. To this day, Steinway says working with skilled workers taught him more about the piano business and why company craftsmen take more than a year to create Steinway pianos, than years of extra study would have accomplished.
Following three years of military service during World War II, Steinway returned to the family business as factory manager. He became the director of the company in 1947 and was named vice president that same year. By 1955, he was appointed company president.
Like his predecessors, Steinway made many contributions to Steinway & Sons during his years at the helm of the company. Manufacturing operations at Steinway’s Long Island City facility were renovated during his watch, and a number of improvements to the piano manufacturing process also were credited to him.
Henry remained at the head of Steinway & Sons until 1977, after the company was purchased by CBS. He then served with the company as its chairman until his retirement in 1980. Since then, he has remained active as a consultant for the firm.
A strong advocate of music education, Steinway is the founding president of the Museum of Making Music, an organization that curates public exhibits relating to the history of American popular music. He is the past director of the American Music Conference and recipient of the Prix de Martell for Lifetime Contributions to the World of Classical Music. Other positions and honors include benefactor to the International Piano Archives at the University of Maryland and recipient of the James Smithson Bicentennial Medal from the Smithsonian Institution.
William James “Count” Basie was a 1970 initiate of the Mu Nu Chapter at Louisiana Tech University. Basie established swing as a predominant music style and is regarded as one of the greatest bandleaders of all time alongside Duke Ellington (Rho Upsilon). His big-band sound and unique style changed the jazz landscape and shaped mid-20th-century popular music.
Brother Basie grew up in Red Bank, New Jersey and was fascinated with music from an early age. He was noted for an “incredible ear” as he was able to pluck out any melody he heard on the piano. Basie spent his early years accompanying the vaudeville touring circuit until his group was disbanded leaving him stranded in Kansas City, Missouri. Making the best of a bad situation, Basie stayed in Kansas City and joined up with Walter Page’s “Blue Devils” in 1928.
The Blue Devils were Basie’s first time experiencing the big-band sound and he wanted more. When Basie formed his own band called the “Barons of Rhythm” they became regulars at the Reno Club. It was while playing a live broadcast at the Reno Club that Basie was dubbed “Count” Basie by a radio announcer. From here on out the Count would skyrocket to fame, eventually releasing their first album under a new name, “The Count Basie Orchestra.”
Through several hit recordings like One O’Clock Jump and April in Paris, Basie and his orchestra redefined big-band sound through the 1930s and in the 1940s. As the 50s emerged, the orchestra featured several great artists in recordings and concerts that brought the group newfound popularity. This trend continued well into the 1970s and many of Basie’s albums became Grammy Award winners or nominees.
Count Basie continued to front his legendary big band up until his death in 1984. The following year his autobiography, Good Morning Blues, was published as recounted by Basie to historian Albert Murray.
Samuel Adler was born March 4, 1928, in Mannheim, Germany and came to the United States in 1939. He was inducted into the American Academy of Arts and Letters in May 2001, and then inducted into the American Classical Music Hall of Fame in October 2008. In 2018he was award the Bundesverdienstkreuz (first class), the highest civilian award given by the German government .
He is the composer of over 400 published works, including 5 operas, 6 symphonies, 17 concerti, 8 string quartets, 5 oratorios and many other orchestral, band, chamber and choral works and songs, which have been performed all over the world. He is the author of four books, Choral Conducting (Holt Reinhart and Winston 1971, second edition Schirmer Books 1985), Sight Singing (W.W. Norton 1979, 1997), and The Study of Orchestration (W.W. Norton 1982, 1989, 2001), and the autobiographical Building Bridges With Music (Pendragon Press 2017). He has also contributed numerous articles to major magazines and books published in the U.S. and abroad.
Adler was educated at Boston University and Harvard University, and holds honorary doctorates from Southern Methodist University, Wake Forest University, St. Mary’s Notre-Dame and the St. Louis Conservatory. His major teachers were: in composition, Herbert Fromm, Walter Piston, Randall Thompson, Paul Hindemith and Aaron Copland; in conducting, Serge Koussevitzky.
He is Professor-emeritus at the Eastman School of Music where he taught from 1966 to 1995 and served as chair of the composition department from 1974 until his retirement. Before going to Eastman, Adler served as professor of composition at the University of North Texas (1957-1977), Music Director at Temple Emanu-El in Dallas, Texas (1953-1966), and instructor of Fine Arts at the Hockaday School in Dallas, Texas (1955-1966). From 1954 to 1958 he was music director of the Dallas Lyric Theater and the Dallas Chorale. From 1997 to 2017 he was a member of the composition faculty at the Juilliard School of Music in New York City where he was awarded the 2009-10 William Schuman Scholars Chair. Adler has given master classes and workshops at over 300 universities worldwide, and in the summers has taught at major music festivals such as Tanglewood, Aspen, Brevard, Bowdoin, as well as others in France, Germany, Israel, Spain, Austria, Poland, South America and Korea.
His works have been performed lately by the Berlin Philharmonic, Cleveland Orchestra, Pittsburgh Symphony Orchestra, New York Philharmonic, Chicago Symphony, St. Louis Symphony, the Los Angeles Philharmonic, the Berlin Radio Symphony Orchestra, the Mannheim National Theater Orchestra; the orchestras of Beijing, Chendu, Frankfurt (Oder), among others.
Adler has received commissions from the National Endowment for the Arts, the Ford and Rockefeller Foundations, the Koussevitzky Foundation, the Barlow Foundation, the City of Jerusalem, the Welsh Arts Council and many others.
Adler has appeared as conductor with many major symphony orchestras, both in the U.S. and abroad. His compositions are published by Theodore Presser Company, Oxford University Press, G. Schirmer, Carl Fischer, E.C. Schirmer, Peters Edition, Ludwig-Kalmus Music Masters, Southern Music Publishers, Transcontinental Music Publishers, and Leupold Music. Recordings of his works have been done on Linn, Naxos, RCA, Gasparo, Albany, CRI, Crystal, Parma and Vanguard.
Dr. Cedric Adderley was initiated into the Iota Beta Chapter at North Carolina A & T State University in 1994 while holding the position of Assistant Director of Bands. In the years since then, he has seen success and personal fulfillment both on and off the stage as a composer, conductor, and educator. He currently serves as the fourth president of the South Carolina Governor’s School for the Arts and Humanities where he has been since 2015.
A native of South Carolina, Brother Adderley began a career in education in the South Carolina Public Schools, teaching both instrumental and choral music. In his nearly thirty years of teaching, both in public schools and at the university level, Dr. Adderley has helped restructure music programs and academic units to increase enrollment, improved the performance of students, and brought stability back to music programs.
On top of this success as an educator and educational reformer, Adderley has composed several pieces for band and orchestra. Two compositions of note, Symphony no.1 and Suite for Young Voices, earned him the Detroit Symphony Orchestra’s Annual Composer Award and the Composer of the Year Award by the South Carolina Music Teachers Association respectively. As a trumpeter and vocalist, Adderley has played with names like Ray Charles, Olivia Newton-John, and Louie Bellson as well as other touring variety bands.
In his most recent years, Brother Adderley has become a community leader and has taken a firm front-line stand in his role at South Carolina Governor’s School. He has committed himself to make a real change in his home state and to realize the true potential of the school he leads. From establishing a strong mission whose purpose is to serve all students and teachers of South Carolina, continually sending messages of hope and outreach, and keeping an eye toward the future; Brother Adderley continues to prove that with a strong foundation and a dash of hope, we can truly make a difference together.
Francois Clemmons was a 1968 initiate of the Alpha Omega Chapter at Carnegie Mellon University.
Brother Clemmons has sung professionally in the Metropolitan Opera Studio and was awarded a GRAMMY for his 1973 recording as Sportin’ Life in George Gershwin’s Porgy & Bess. However, Clemmons is perhaps best known for his appearances as Officer Clemmons on the PBS television series Mister Rogers’ Neighborhood during the 1970s and 1980s.
Francois Clemmons was born in Birmingham, Alabama and grew up in Youngstown, Ohio. Most of his early singing experience he owes to his mother who passed down traditional spirituals to him as a child in her kitchen. As a young adult, Clemmons attended Oberlin College where he earned his Bachelor of Music degree. He would eventually attend Carnegie Mellon University to obtain a Master of Fine Arts and receive an honorary doctorate degree from Middlebury College.
In 1968, while performing with a church choir in the Pittsburgh-area, Clemmons was approached by a man who was impressed by his singing. The man wanted to offer Clemmons a spot on his television show. That man was Fred McFeely Rogers (Xi Psi). After an initial uneasy feeling about joining the cast, Brother Clemmons accepted, not knowing the experience would profoundly impact his life. For the next 25 years, Clemmons appeared on Mister Rogers’ Neighborhood as policeman Officer Clemmons, forever grateful for Rogers’ fatherly guidance.
Brother Clemmons spent many years singing opera professionally but in the late 1980s, he found a renewed passion for the spirituals his mother sang to him in his childhood. This renewed passion led him to create “The Harlem Spiritual Ensemble,” an ensemble dedicated to preserving the American Negro Spiritual. In 1995 Clemmons published a volume of choral arrangements of spirituals titled Songs for Today as part of his growing commitment to the art form’s preservation. In 2013, Francois Clemmons retired from Middlebury College after 16 years of teaching.
Sergei Rachmaninoff was born near Lake Ilmen in the Novgorod district of Russia in 1873. He began learning the piano at the age of four, and at nineteen, he graduated from Moscow Conservatory, winning a gold medal for his one-act opera “Aleko.” His fame and popularity, both as composer and concert pianist, were launched by two compositions. The “Prelude in C-sharp Minor,” played for the first time in public on September 26, 1892, and his “Piano Concerto No. 2 in C Minor,” which had its first performance in Moscow on October 27, 1901.
In his youth, Rachmaninoff was subject to emotional crises over the success or failure of his works and his personal relationships. Self-doubt and uncertainty carried him into deep depressions, one of the most severe of which followed the failure of the first performance of his “Symphony No. 1 in D Minor” in March 1897. The symphony was poorly performed, and critics condemned it.
In 1901, his “Piano Concerto No. 2,” paved the way for future success. The piece was dedicated to the hypnotherapist Nikolay Dahl who helped him recover from his depression. The piece had been enthusiastically received and earned him a Glinka Award, the first of five awarded to him throughout his life.
Sergei Rachmaninoff began working his way into the west in the face of political turmoil within Russia. He first toured America in 1909-1910, and eventually emigrated after the Russian Revolution of 1917. Two years later, on April 22, 1919, the Alpha Chapter of Phi Mu Alpha Sinfonia invited Rachmaninoff to membership, and he accepted the same day.
A towering virtuoso with a near-photographic memory, Rachmaninoff was, in effect, the final expression of Romantic tradition – a melodist, still writing in an era of ever-evolving change and experimentation. A 1936 review in “The New York Times” praised the performance of Rachmaninoff’s new “Rhapsody on a Theme of Paganini” at Carnegie Hall with Stokowski and the Philly Orchestra: “To hear Mr. Rachmaninoff interpret the piano part is to listen to an amazing exhibition of imagination and commanding musicianship.”
Daryl Davis was a 1978 initiate of the Zeta Iota Chapter at Howard University and is a renowned blues musician. Since the early 1980s, he has been an author, actor, and race relations activist. Brother Davis has based his engagement on a sincere belief in the statement “When two enemies are talking, they’re not fighting.”
Brother Davis was born in Chicago, Illinois and absorbed the music and talents of blues musicians in the area during his early years. He attended Howard University and earned a bachelor’s degree in music by 1980. While at Howard, Davis was mentored by pianists Pinetop Perkins and Johnnie Johnson, who would both claim him as their godson, praising his mastery of the piano. Davis released several recording albums and has been featured on many others, including Cephas & Wiggins’ Grammy-nominated album Flip, Flop & Fly.
In 1983, Davis was approached by a man who was very impressed with his performance during a gig in Frederick, Maryland. Throughout their conversation, the man admitted that he was a member of the Ku Klux Klan. The two men continued their conversation and would eventually become friends. The friendship would lead Davis down a path that would provide him with opportunities never imagined before. He began interviewing Klan members in hopes of writing a book, asking them one simple question, ‘Why do you hate me when you know nothing about me?’ Davis’ approach was to tear down racial barriers and show that by finding commonalities with your fellow man you can form true bonds of friendship. Through his book, lecturers, and ideals, Davis began to spread a message that ultimately led hundreds of Klansmen to denounce the group. Davis remains friends with many of these members today.
Brother Davis has received numerous awards and overwhelming recognition for his work as an artist and activist. He has received the Elliott-Black Award, the MLK Award, and the Bridge Builder Award among many others. In 2016, he was the subject of the documentary film Accidental Courtesy: Daryl Davis, Race & America. The film debuted on PBS and has received great acclaim worldwide. Today, Davis continues to deliver impassioned lectures, leaving an audience “feeling empowered to confront their own prejudices and overcome their fears.”
Through the power of his music and a chance encounter, Brother Davis continued a movement that was begun by the work of Dr. Martin Luther King, Jr. Through goodwill and nonviolence, he transformed hate into mutual helpfulness and friendship.
Edward Kennedy Ellington, known to all as “Duke” Ellington, was and still is one of the most influential figures in jazz. His music created a distinct sound that transcends boundaries, joins generations, and creates the unique theme that is, as Ellington put it, “American Music.”
Duke Ellington was initiated as an honorary member of the Rho Upsilon Chapter at Temple University in 1969. He had grown up in Washington, D.C., beginning piano lessons at the age of seven. However, it wasn’t until high school that he truly began studying the arts in earnest and in 1923 he moved to New York City to pursue them professionally. His first group, “The Duke’s Serenaders” took him all over Washington, D.C., and Virginia. He would soon become a regular performer at the storied “Cotton Club” in Harlem.
In 1927, Ellington auditioned for a spot as the premier entertainer at the club. He continued to play and lead his orchestra in regular appearances until 1931. The praise he received on European tours during the Depression Era began to influence him greatly as he composed longer, more artistically rich works. These extended pieces were in line with Ellington’s long-term aim to extend the typical jazz form. Although these innovations were not well received originally, audiences grew to appreciate them throughout the 1940s until Brother Ellington became universally regarded as “the king of the three-minute masterpiece.”
The 1950s were particularly hard on Ellington’s career, as his music was received by many as “old-fashioned.” His appearance at the Newport Jazz Festival of 1956, however, propelled Ellington once more into international headlines and onto the cover of Time Magazine. The festival performance presented Ellington and his band to a whole new generation of fans that could not get enough of The Duke.
Ellington was awarded both the President’s Gold Medal and the Presidential Medal of Freedom for his contributions to American culture and art. France also bestowed him with the Legion of Honor, the country’s highest civilian honor. When asked what inspired him to write, Ellington replied, “My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people.”
In his long career, which spanned six decades and four cities, Robert Shaw transformed choral conducting into an art and nearly single-handedly raised its standards to a new level. For more than half a century he set the standard of excellence for choral music, enjoying a status of patriarch of vocal musical interpretation in the USA.
Robert (Lawson) Shaw came from a clerical family. His father and grandfather were ministers. More importantly, perhaps, his mother sang in church choirs. In school, his serious interests were in philosophy, literature, and religion, but at Pomona College he did join the glee club. Then, in a chain of events right out of a Warner Brothers backstage musical, Shaw was asked to take over the choir for an ailing faculty leader the same year that Fred Waring happened to be making a film on the campus. Waring was impressed, asked him to go to New York to develop a glee club for him, and a star conductor was born.
Robert Shaw’s first major honor came as early as 1943 from the National Association of Composers and Conductors which cited him as “America’s greatest choral conductor.”
Four decades ago, the great – and not easily pleased – Italian conductor Arturo Toscanini was conducting L.v. Beethoven’s Ninth Symphony with his NBC Symphony Orchestra. After hearing the chorus, which had been prepared by Robert Shaw, perform the glorious choral movement that ends the symphony, Arturo Toscanini turned to his players and said, “In Robert Shaw I have at last found the maestro I have been looking for.”
With the founding of the Robert Shaw Chorale in New York in 1948, which Robert Shaw was to conduct for another 20 years, his fame and influence in the field became second to none in the world, leading the group on extensive tours throughout Europe, the Soviet Union, Latin America, and the Middle East under the auspices of the State Department. For this esteemed Robert Shaw Chorale, he commissioned pieces from the leading composers of the day: Béla Bartók, Darius Milhaud, Benjamin Britten, and Aaron Copland.
Robert Shaw also served as music director of the San Diego Symphony Orchestra until he was recruited by George Szell to conduct the choral section of the Cleveland Symphony Orchestra. He served under Szell for 11 years, during which time he shaped the Cleveland chorus.
In 1967 Robert Shaw accepted the directorship of the Atlanta Symphony Orchestra and saw it grow from a local band of a part-time amateur symphony of 60 musicians to a fine major-league orchestra (when he retired in 1988, the orchestra comprised 93 professional players), establishing a magnificent choral adjunct and leading the combined forces in many definitive recordings of the symphonic-choral music literature. During his 21 years in Atlanta, he conducted both the regular orchestra and the chorus. The recordings he made with the Atlanta Symphony Orchestra and the chorus — eleven of which won Grammy awards — are still “benchmarks” in the field, according to Smith. Shaw won four other Grammy awards and was nominated this year for two more. He recorded the first classical album on the RCA label to sell over a million copies.
Julian “Cannonball” Adderley was a jazz saxophonist who helped define the hard-bop sound of the 1950s and 60s. Adderley was fearless in exploring fresh musical styles, using his own combination of styles to create a sound that was uniquely his own.
Brother Adderley was initiated into the Gamma Theta Chapter in 1960. He had been introduced to music at an early age by his father and took a particular interest in performing. After several years of side gigs with his own jazz group, Adderley enlisted in the U.S. Army where he led the 36th Army Dance Band.
In 1955, Adderley made a move to New York and kicked off a career in Jazz with his brother Nat. The two formed a quintet that would ultimately not be successful the first time around, but it did catch the attention of trumpeter Miles Davis. Davis invited Adderley to play with his band, which he did for several years, playing on a number of Davis’ seminal albums. Eventually, Adderley would reunite with his brother, forming the “Cannonball Adderley Quintet.”
For the next fifteen years, Adderley molded the quintet’s sound using the experience he gained from playing with Miles Davis. His later albums and styles were influenced by electric jazz as the quintet made appearances at festivals, concerts, and even a few movies. Adderley spent the last five years of his life teaching and lecturing on his lifelong passion for the art of jazz until his death in 1975.
David Scull Bispham was an American operatic baritone. Bispham was born on January 5, 1857 in Philadelphia, the only child of William Danforth Bispham and Jane Lippincott Scull. Both of Bispham’s parents were members of the Society of Friends. In 1867, the family relocated to New Jersey. In 1872, Bispham entered Haverford College, from which he was graduated in 1876. After graduation, Bispham entered the wool business with his mother’s brothers, all the while continuing to develop his musical talents as an amateur. Bispham appeared in numerous musical performances in his childhood despite having no formal musical training. In 1885, Bispham married the daughter of General Charles Sawyer Russell, they would go on to have four children: Jeanette, Vida and David. The Bisphams honeymooned in Europe, when they returned to Philadelphia, Bispham found work with the Lehigh Valley Railroad. While employed with the railroad, Bispham spent his spare time singing with local clubs and an Episcopal church choir in Philadelphia.
At twenty-eight he went to Europe, studying singing in Florence with Luigi Vannuccini and in Milan with Francesco Lamperti. He studied in Bayreuth. In 1891 he was selected from among fifty applicants to perform the role of the Duc de Longueville in a London performance of André Messager’s La Basoche, he was engaged by the Royal Opera at Covent Garden to sing the part of Beckmesser in Wagner’s Die Meistersinger von Nürnberg in June 1892. This production was to feature Jean de Reszke, Emma Albani, Jean Lassalle in the other leading roles. De Reszke fell ill during rehearsals, the production had to be cancelled. On the day of the cancellation, Bispham was asked to substitute on the following day as Kurwenal in Richard Wagner’s Tristan und Isolde, under Gustav Mahler; this was Bispham’s first Wagner role. According to his memoir, referred to below, Bispham had learned that role and several others following the advice of a medium at a seance, his success there brought him a contract for Covent Garden, where he appeared in Wagnerian roles, for all but two of the next ten seasons.
Bispham made his American debut, once again in Wagner, at the Metropolitan Opera in New York City on November 18, 1896. He remained with the company until 1903, singing Wagnerian roles. Bispham was influential in establishing the career of Carrie Jacobs-Bond as in 1901 he gave a recital featuring her songs in Chicago’s Studebaker Theatre. After 1903 Bis
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Pop Conference 2024: Say it with Song: Animating the Musician...
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POP CONFERENCE 2024
Legacy! Legacy! Music, Collections and Archives
March 7 - 9 2024
Los Angeles, California
Presented by USC Thornton School of Music
With USC Annenberg School for Communication and Journalism
Now in its 22nd year, the annual Pop Conference is the premier music writing and pop music event. Every year, we feature leading scholars, journalists, writers, and musicians engaging in insightful dialogues around a wealth of pop music topics. This year’s conference theme, “Legacy! Legacy! Music, Collections, and Archives,” invites us to explore a wide range of ideas and concepts related to the idea of legacy in popular music, and the transforming meaning of music archives and collections. Among the questions the conference will consider: What do musicians, bands, critics and fans leave behind once they’ve exited the building? How do we remember, or forget, music scenes? What is left to remember of the different ways they’ve shaped and moved worlds? What do we do with a multitude of legacies living in the present…and how do we shape the legacies we hope to leave behind?
All of the events are scheduled on USC’s Los Angeles University Park campus. All times listed are PST. Some events may be recorded/livestreamed. On-site registration begins at 12 pm on Thursday March 7 and at 8 am on Friday March 8 and Saturday March 9.
Open to the Public and Free Admission with Conference Registration.
CLICK HERE TO PRE-REGISTER.
Conference Produced by Michelle Habell-Pallán and Jason King
Associate Producers: madison moore, Karen Tongson, and Oliver Wang. 2024 Program Committee: Eddy Francisco Alvarez Jr., Jessica Bisset Perea, Bettina Judd, Oscar Garza, Amy Linden, madison moore, Sonnet Retman, Justin Sayles, Audrey Silvestre, RJ Smith, Melissa A. Weber, Cristina Verán, and Deborah Wong.
Artwork by Sharolyn Hagen; Design by Unincorporated
Pop Conference is supported by Critical Minded, a grantmaking and learning initiative cofounded by the Nathan Cummings and Ford foundations to support cultural critics of color in the United States.
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2016-11-09T20:09:55+00:00
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The Embassy Theatre
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http://fwembassytheatre.org/
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CECE WINANS ANNOUNCES FIRST CHRISTMAS TOUR IN OVER A DECADE WITH SPECIAL GUEST AMERICAN IDOL CONTESTANT ROMAN COLLINS
CECE WINANS ANNOUNCES FIRST CHRISTMAS TOUR IN OVER A DECADE WITH SPECIAL GUEST AMERICAN IDOL CONTESTANT ROMAN COLLINS Fort Wayne, Ind. (August 1, 2024) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present CeCe Winans as she brings her Christmas Tour with special guest American Idol contestant Roman Collins to the Embassy Theatre […]
2024 Summer Nights at the Embassy Begins July 10
2024 Summer Nights at the Embassy Begins July 10 Series Lineup Announced Fort Wayne, Ind. (June 5, 2024) – The Embassy is pleased to announce that the ninth season of Summer Nights at the Embassy will begin Wednesday, July 10 and continue for 8 weeks, wrapping up on August 28. These shows will be open from […]
Broadway at the Embassy Expands for the 2024-2025 Season
Broadway at the Embassy Expands for the 2024-2025 Season Current subscribers can renew May 7; new subscriptions available July 8 Fort Wayne, IN (May 6, 2024) – The Embassy Theatre and Nederlander National Markets are thrilled to announce the newly-expanded 24/25 Broadway at the Embassy season. Due to popular demand, we’ve expanded the season to […]
Nurse Blake Brings Shock Advised Tour to the Embassy Theatre on November 15
Nurse Blake Brings Shock Advised Tour to the Embassy Theatre on November 15Fort Wayne, Ind. (March 18, 2024) – The Embassy Theatre is pleased to announce that comedian Nurse Blake will bring his Shock Advised Comedy Tour to the legendary Embassy stage on Friday, November 15 at 8 p.m. Member pre-sale starts on Wednesday, March […]
Embassy Theatre Announces Middle Waves Lineup
June 15 Festival Creates Fun Vibe at Parkview Field Fort Wayne, Ind. (March 8, 2024) – The Embassy Theatre is thrilled to announce the lineup for the 2024 Middle Waves Music Festival. The festival will take over the Parkview Field concourse on Saturday, June 15 with music, art and good vibes! The main gate will […]
Embassy Announces Buddy Nolan Memorial Concert and Black & White Silent Film Series
Embassy Announces Buddy Nolan Memorial Concert and Black & White Silent Film Series Tickets are now available Fort Wayne, Ind. (Monday, Feb. 5, 2024) – The Embassy Theatre is excited to announce five events in 2024 that pay tribute to the Grande Page pipe organ. These events are scheduled from May through August 2024 and […]
Embassy Theatre Celebrates Down the Line 18 with ‘90s Grunge – Seattle Sound
Fort Wayne, Ind. (Dec.19, 2023) – The Embassy Theatre has partnered with four local bands for Down the Line 18. This event will pay tribute to music legends and showcase the diverse range of local talent in a single night. This signature Embassy event will take place on Saturday, February 24, 2024 at 7 p.m. Tickets […]
RAIN: A Tribute to the Beatles Brings the Magical History Tour to the Embassy in April
Fort Wayne, Ind. (Dec.19, 2023) – The Embassy Theatre and Nederlander National Markets is excited to present RAIN: A Tribute to the Beatles on Wednesday, April 17, 2024 at 7:30 p.m. at the Embassy. Member pre-sale started yesterday, and tickets go on sale to the public this Friday, December 22 at 10 a.m. RAIN: A Tribute […]
Ailey II Brings Premium Diverse Dance Experience to the Embassy Theatre in March
Fort Wayne, Ind. (November 22, 2023) – The Embassy Theatre and Fort Wayne Dance Collective are excited to bring Ailey ll to the Embassy Theatre on Thursday, March 7, 2024 at 7:30 p.m. Two master classes will be held on March 6 at 6 p.m. and 7:30 p.m. This is the third consecutive year the […]
Comedian John Crist at the Embassy Theatre in March TICKETS GO ON SALE Friday, November 3 at 10 a.m.
Comedian John Crist at the Embassy Theatre in March TICKETS GO ON SALE Friday, November 3 at 10 a.m. Fort Wayne, Ind. (November 2, 2023) –The Embassy Theatre has partnered with Outback Presents to bring John Crist back to the Embassy stage on Saturday, March 9, 2024 at 7 p.m. Member pre-sale begins today at […]
39th Annual Festival of Trees Now on Sale
39th Annual Festival of Trees Now on Sale 2023 Festival Runs November 22 – 29 Fort Wayne, Ind. (Oct. 26, 2023) – The Festival of Trees is one of the region’s most anticipated holiday events, and the Embassy Theatre is thrilled to announce that tickets are now on sale. The organization will host the 39th annual […]
Comedian Jo Koy Adds the Embassy Theatre to His Jo Koy World Tour
Comedian Jo Koy Adds the Embassy Theatre to His Jo Koy World Tour TICKETS GO ON SALE Thursday, October 26Fort Wayne, Ind. (October 23, 2023) – Coming off of the highly anticipated Universal Picture film, Easter Sunday and his recent Netflix special, Jo Koy: Live From The Los Angeles Forum, comedian Jo Koy announces his […]
Blippi: The Wonderful World Tour at the Embassy Theatre next June
Fort Wayne, Ind. (October 17, 2023) – Round Room Live and Moonbug Entertainment are proud to announce that the hit live show, Blippi: The Wonderful World Tour, will continue to bring the vivacious, energetic and educational antics of global sensation Blippi to stages across North America with the addition of over 60 new dates next […]
Tim Allen at the Embassy in January TICKETS GO ON SALE FRIDAY, SEPTEMBER 22
Fort Wayne, Ind. (September 20, 2023) – The Embassy Theatre is pleased to announce that Tim Allen will be on the historic Embassy stage on Friday, January 26, 2024 at 8 p.m. Member pre-sale begins Thursday, September 21 at 10 a.m., and tickets go on sale to the public on Friday, September 22 at 10 […]
KIDZ BOP Extends Popular Never Stop Live Tour to Include the Embassy Theatre in November
Fort Wayne, Ind. (September 19, 2023) – The Embassy Theatre and Honeywell Arts & Entertainment are excited to present the KIDZ BOP Never Stop Live Tour at the Embassy Theatre on Friday, November 10, 2023 at 7:30 p.m. Member pre-sale begins Wednesday, September 20 at 10 a.m..; tickets go on sale to the public on […]
Whiskey Myers & Friends at the Embassy in December
Whiskey Myers & Friends at the Embassy in December TICKETS GO ON SALE FRIDAY, SEPTEMBER 15 Fort Wayne, Ind. (September 15, 2023) – The Embassy Theatre is pleased to announce that Whiskey Myers & Friends will be on the historic Embassy stage on Friday, December 8, 2023 at 8 p.m. This show is presented by […]
The Tony & Oliver Award-Winning Musical Come From Away on Stage at the Embassy Theatre in October
The Tony & Oliver Award-Winning Musical Come From Away on Stage at the Embassy Theatre in October Tickets go on sale to the public this Friday Fort Wayne, Ind. (September 12, 2023) – Nederlander National Markets is thrilled to announce the national tour of COME FROM AWAY, a Broadway musical about the true story of […]
James “Murr” Murray will be at the Embassy this October
Fort Wayne, Ind. (August 22, 2023) – The Embassy Theatre is excited to partner with Outback Presents to bring comedian James “Murr” Murray to the Embassy Theatre stage on Sunday, October 29, 2023, at 6 p.m. Tickets go on sale to Embassy members Wednesday, August 23, at 10 a.m. and to the general public on […]
RuPaul’s Drag Race – Night of the Living Drag at the Embassy This October
Fort Wayne, Ind. (August 18, 2023) – The Embassy Theatre is excited to partner with Exceptional Artists to present RuPaul’s Drag Race – Night of the Living Drag on Saturday, October 14 at 8 p.m. on the Embassy Theatre stage. Tickets are now on sale. What can patrons expect at this show? Imagine if you […]
Violinist and Dancer Lindsey Stirling Returns to the Embassy Stage with Snow Waltz Christmas Tour
Fort Wayne, Ind. (August 21, 2023) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present Lindsey Stirling as she brings her Snow Waltz Tour to the Embassy Theatre Monday, December 4, 2023 at 7:30 p.m. Member pre-sale begins Wednesday, August 23 at 10 a.m..; tickets go on sale to the public on Friday, […]
Inaugural National Tour of Spider-Man™: Into the Spider-Verse Live in Concert at the Embassy This October
Inaugural National Tour of Spider-Man™: Into the Spider-Verse Live in Concert at the Embassy This October Fort Wayne, Ind. (August 18, 2023) – The Embassy Theatre and Nederlander National Markets proudly present Spider-ManTM: Into the Spider-Verse Live in Concert on Thursday, October 26 at 7:30 p.m. on the historic Embassy Theatre stage. Tickets are now […]
The Hip Hop Nutcracker Celebrates its 10th Season with a Show at the Embassy Theatre on December 5
The Hip Hop Nutcracker Celebrates its 10th Season with a Show at the Embassy Theatre on December 5 Fort Wayne, Ind. (July 25, 2023) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present The Hip Hop Nutcracker on Tuesday, December 5 at 7:30 p.m. on the historic Embassy Theatre stage. Tickets are currently […]
Menopause The Musical at the Embassy in October
Menopause The Musical at the Embassy in October Fort Wayne, Ind. (July 25, 2023) – The Embassy Theatre will play host to Menopause The Musical on Sunday, October 22, 2023 at 4:00 p.m. Tickets are currently on sale. This show is presented by The Roberts Group. GFour Productions, winners of 68 Drama Desk and 54 […]
BROADWAY AT THE EMBASSY 2023 – 2024 SEASON
Media Contact for Nederlander National Markets: Micah McDade e. mmcdade@nederlandernatlmkts.com p. 312.846.4255 BROADWAY AT THE EMBASSY 2023 – 2024 SEASON PRESENTED BY MIDWEST AMERICA FEDERAL CREDIT UNION Renewing and New Subscriptions On Sale Monday, June 5 Fort Wayne, Ind. (June 5, 2023) – The Embassy Theatre and Nederlander National Markets are thrilled to announce […]
Grammy Award Winner Ashanti will be at the Embassy in October TICKETS GO ON SALE FRIDAY, MAY 26
Fort Wayne, Ind. (May 22, 2023) – The Embassy Theatre is excited to present An Evening with Ashanti on Friday, October 13 at 8 p.m. Member pre-sale began Wednesday, May 24 at 10 a.m., and tickets go on sale to the public on Friday, May 26 at 10 a.m. Grammy Award-winning singer/songwriter, actor and author […]
2023 Summer Nights at the Embassy Lineup Announced
Fort Wayne, Ind. (May 10, 2023) – The Embassy is pleased to announce that the eighth season of Summer Nights at the Embassy will begin Wednesday, July 12 and continue for 8 weeks, wrapping up on August 30. These shows will be open from 5:30 to 9 p.m., with performers playing from 6:00 to 8:45 p.m. […]
Straight No Chaser Brings Their Sleighin’ It Tour to the Embassy in December TICKETS GO ON SALE FRIDAY, MAY 12
Fort Wayne, Ind. (May 9, 2023) – RIAA-certified Gold a cappella group Straight No Chaser today announced the Sleighin’ It Tour, their fall and early winter 2023 run of live shows. Ranked in the top 20 of Pollstar’s “Live 75” for tours at the end of 2022, these shows have become part of family holiday traditions […]
The Price is Right LIVE at the Embassy in October
The Price is Right LIVE at the Embassy in October TICKETS GO ON SALE FRIDAY, MAY 5 Fort Wayne, Ind. (May 2, 2023) – The Embassy Theatre will play host to The Price is Right LIVE stage show on Thursday, October 19, 2023 at 7:30 p.m. Member pre-sale began today at 10 a.m., and tickets […]
Joe Bonamassa at the Embassy in September TICKETS GO ON SALE FRIDAY, APRIL 28
Fort Wayne, Ind. (April 26, 2023) – The Embassy Theatre is pleased to announce the return of blues-rock superstar Joe Bonamassa on the historic Embassy stage on Friday, November 17, 2023 at 8 p.m. Member pre-sale began today at 10 a.m., and tickets go on sale to the public on Friday, April 28 at 10 […]
Embassy Theatre to Acquire Middle Waves Festival Hype Event Scheduled for June 24 at Parkview Field
Fort Wayne, Ind. (April 26, 2023) – The Embassy Theatre is excited to announce that the organization is in the process of acquiring the Middle Waves Festival. To celebrate this collaboration, the Embassy will host Ripple: A Middle Waves Hype Event on Saturday, June 24 from 5 to 11:30 p.m. at Parkview Field (main gate […]
2023 Marquee Gala with Education Experience for High School Students
Fort Wayne, Ind. (April 20, 2023) – There are limited seats available for the Embassy Theatre’s 2023 Marquee Gala, a fundraiser like no other. Marquee Gala will be an exclusive evening that showcases the mission of the Embassy Theatre and the award-winning talent of Broadway star, Matt Doyle, on the beautiful historic stage. Cocktails and […]
Encanto: The Sing-Along Film Concert at the Embassy in September
Fort Wayne, Ind. (April 19, 2023) – The Embassy Theatre is excited to present Encanto: The Sing-Along Film Concert on Saturday, September 30, 2023 at 2 p.m. Member pre-sale began today at 10 a.m., and tickets go on sale to the public on Friday, April 21 at 10 a.m. Disney Concerts announced Monday that Encanto: […]
Katt Williams Brings 2023 And Me Tour to the Embassy Theatre on May 13
Fort Wayne, Ind. (March 15, 2023) – The Embassy Theatre is pleased to announce that comedy legend and Emmy® Award-winning actor, Katt Williams, will bring his 2023 and Me Tour to the Embassy on Saturday, May 13, 2023. The comedic powerhouse will take the stage at 8 p. m. performing an all-new show following the […]
Fort Wayne Philharmonic Returns to the Embassy in May
Fort Wayne, Ind. (March 15, 2023) – The Embassy is thrilled to announce that the Fort Wayne Philharmonic will return to the historic Embassy stage in May. The orchestra will be back at the Embassy as originally scheduled on Saturday, May 6 at 7:30 p.m. for the Constantine Conducts Classic Broadway show. Regarding the Masterworks […]
Comedian Kevin James at the Embassy in September TICKETS GO ON SALE FRIDAY, MARCH 3
Fort Wayne, Ind. (February 28, 2023) – The Embassy Theatre is pleased to announce that Kevin James: The Irregardless Tour will be on the historic Embassy stage on Friday, September 29, 2023 at 8 p.m. Member pre-sale will begin Wednesday, March 1 at 10 a.m., and tickets go on sale to the public on Friday, […]
2022 Tony Winner Matt Doyle Performs at Embassy Fundraiser This May
Fort Wayne, Ind. (Feb 24, 2023) – The Embassy Theatre will host its annual Marquee Gala featuring Tony award winner Matt Doyle on Thursday, May 4, at 5:30 p.m. The event is a unique Embassy fundraiser that brings Broadway stars to the stage in Fort Wayne for an intimate evening of music and camaraderie. As […]
One More For The Road—An Extraordinary Tribute to Sinatra—at the Embassy Theatre This Summer
Fort Wayne, Ind. (February 6, 2023) – One More for the Road – A Frank Sinatra Reenactment presented by Twin Palms Entertainment will be at the Embassy Theatre on Tuesday, July 18, 2023 at 7:30 p.m. Tickets are now on sale. One More For The Road honors the musical legacy of Frank Sinatra and his […]
Kansas Celebrates 50th Anniversary with Another Fork in the Road Tour Coming to the Embassy Theatre on June 16
Fort Wayne, Ind. (January 23, 2023) – The Embassy Theatre is proud to present Kansas 50th Anniversary Tour: Another Fork in the Road on June 16, 2023 at 7:30 p.m. on the historic Embassy Theatre stage. Tickets go on sale to Embassy members on Wednesday, January 25. Public on sale will be Friday, January 27. […]
Chloe Arnold’s Syncopated Ladies LIVE at the Embassy Theatre in March
Fort Wayne, Ind. (January 11, 2023) – The Embassy Theatre is excited to bring Chloe Arnold’s Syncopated Ladies LIVE to the Embassy Theatre on Wednesday, March 8, 2023 at 7:30 p.m. Two master classes will be held on March 7 at 6 p.m. and 7:30 p.m. These events are co-presented by the Embassy Theatre and […]
Embassy Announces Buddy Nolan Memorial Concert and Black & White Silent Film Series Tickets are available Friday, December 23
Fort Wayne, Ind. (Dec. 22, 2022)- The Embassy Theatre is excited to announce five events in 2023 that celebrate the wonder of the Grande Page pipe organ. These shows are scheduled May through August 2023 and are presented by the Embassy Theatre. Attendees will be transported back to the earliest days of entertainment when the […]
Embassy Theatre Celebrates Woodstock ’69 at Down the Line 17
Fort Wayne, Ind. (Dec.15, 2022) – The Embassy Theatre has selected four local performers/bands for Down the Line 17. This event showcases the breadth of local talent in a one-night tribute to music legends. The signature presenting show for the Embassy Theatre is on Saturday, February 25, 2023 at 7 p.m. The title sponsors of this event […]
Embassy Employee, Mark McKinney, Receives Hoosier Hospitality Award
Fort Wayne, Ind. (Dec 13, 2022) – The Embassy Theatre is proud to announce that long-time employee, Mark McKinney, box office assistant manager, has been selected as a winner of the prestigious Hoosier Hospitality Award. Lt. Governor Suzanne Crouch gave the Hoosier Hospitality Award to 16 Hoosiers in the hospitality and tourism industry who have […]
Comedian and Actor Karlous Miller at the Embassy Theatre Next Summer
Fort Wayne, Ind. (December 12, 2022) – The Embassy Theatre is proud to copresent with Outback Presents Karlous Miller during his At the End of the Day… tour. Karlous will visit the Embassy stage on Friday, August 25 at 8 p.m. Tickets are now on sale. The 2023 tour includes 25 dates across the country. […]
Raheem DeVaughn Brings The Love King Tour to the Embassy In December
Fort Wayne, Ind. (November 4, 2022) – The Embassy Theatre is excited to present Raheem DeVaughn Love King Tour on Friday, December 23 at 7:30 p.m. Also, Music Lovers Lounge will be hosting an 11th anniversary party in the Embassy Theatre ballroom after the show for those interested in extending the evening (see additional information […]
Wackadoo! Emmy® Award-winning Phenomenon Bluey Brings First Live Stage Show to the Embassy Theatre
Fort Wayne, Ind. (November 4, 2022) – To further broaden family programming in the Fort Wayne market, the Embassy is excited to present the Bluey live show–Bluey’s Big Play: The Stage Show. Emmy® Award-winning animated preschool series, which airs on Disney Junior, Disney Channel, and Disney+, are “taking the show on the road.” Grab the […]
Nate Bargatze Brings The Be Funny Tour to Fort Wayne Coming to the Embassy Theatre on January 21
Fort Wayne, Ind. (November 4, 2022) – The Embassy Theatre and Outback Presents proudly present Nate Bargatze: The Be Funny Tour on Saturday, January 21, 2023 at 7:00 p.m. on the historic Embassy Theatre stage. Nate Bargatze will perform all new material on this tour. Tickets for this show are currently on sale. Bargatze began his […]
Pink Droyd Celebrates 50 years of The Dark Side of The Moon on the Embassy Stage
Fort Wayne, Ind. (October 27, 2022) – The Embassy Theatre is pleased to present Pink Droyd as they pay tribute to the 50th anniversary of Pink Floyd’s The Dark Side of The Moon on Saturday, March 25, 2023 at 8 p.m. Member pre-sale is currently active; tickets go on sale to the public on Friday, […]
Embassy Theatre, In Partnership with Silverback Films and GEAlive, Presents Our Planet Live in Concert
Fort Wayne, Ind. (October 27, 2022) – The Embassy Theatre is excited to present Our Planet Live in Concert on Friday, April 7, 2023 at 8:00 p.m. The Emmy Award®-winning Netflix documentary is now a live-in-concert experience accompanied by an orchestra, with a donation for each performance to benefit Our Planet producing partner organization World […]
Musician and Feminist Ani DiFranco at the Embassy Theatre in January
Fort Wayne, Ind. (October 27, 2022) – The Embassy Theatre is proud to present Ani DiFranco with Peter Mulvey & SistaStrings on the Embassy stage on Thursday, January 26 at 8 p.m. Member pre-sale will begin Thursday, October 27 at 10 a.m.; tickets go on sale to the public on Friday, October 28 at 10 […]
38th Annual Festival of Trees Now on Sale 2022 Festival Runs November 23 – 30
Fort Wayne, Ind. (Oct. 24, 2022) – The Festival of Trees is one of the region’s most anticipated holiday events, and the Embassy Theatre is thrilled to announce that tickets are now on sale. The organization will host the 38th annual Festival of Trees from Wednesday, November 23 through Wednesday, November 30. This year, Ambassador Enterprises […]
Blues Legend Buddy Guy Visits the Embassy on the Damn Right Farewell Tour Tickets on sale Friday, October 21
Fort Wayne, Ind. (October 18, 2022) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present the Buddy Guy Damn Right Farewell tour on February 23, 2023 at 7:30 p.m. on the historic Embassy Theatre stage. Member pre-sale will begin Wednesday, October 19 at 10 a.m., and tickets go on sale to the public […]
An Unforgettable Night with Award-winning Actor William Shatner and Screening of Star Trek ll: The Wrath of Khan Coming to the Embassy Theatre on February 9
Fort Wayne, Ind. (October 17, 2022) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present William Shatner with Screening of Star Trek ll: The Wrath of Khan on February 9, 2023 at 7:30 p.m. on the historic Embassy Theatre stage. Tickets are now on sale. Set phasers to fun and beam yourself to […]
Join the Embassy for JD Simo and Patrick Sweany in the Embassy Theatre Lobby
Fort Wayne, Ind. (October 10, 2022) – The Embassy Theatre is proud to present JD Simo and Patrick Sweany for a limited capacity intimate performance in our theatre lobby on November 11, 2022 at 7:30 p.m. Tickets are currently on sale. JD Simo is a Chicago-born and Nashville-based singer, songwriter, guitarist and producer who connects […]
John Mellencamp Live and In Person at the Embassy Next May
Fort Wayne, Ind. (October 5, 2022) – John Mellencamp Live and In Person presented by AEG Presents and sponsored by Turner Classic Movies (TCM) will be at the Embassy Theatre for two days on Monday, May 15, 2023 and Tuesday, May 16, 2023; both shows will be at 8:00 p.m. Member pre-sale will begin, Thursday, […]
The Embassy Announces Schedule for the 38th Annual Festival of Trees Final call for sponsorships and tree decorators
Fort Wayne, Ind. (Sept. 22, 2022) – The Festival of Trees is one of the region’s most anticipated holiday traditions, and the Embassy Theatre is excited to formally announce that it will host the 38th annual Festival of Trees from Wednesday, November 23 through Wednesday, November 30. This year, Ambassador Enterprises has come on board as […]
Lindsey Stirling Snow Waltz Tour on the Embassy Theatre Stage this December
Fort Wayne, Ind. (September 15, 2022) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present Lindsey Stirling as she brings her Snow Waltz Tour to the Embassy Theatre Monday, December 12, 2022 at 7:30 p.m. Member pre-sale began Wednesday, September 14.; tickets go on sale to the public on Friday, September 16 at […]
CoComelon Live! JJ’s Journey Will Make a Special Stop at the Embassy Theatre in November
Fort Wayne, Ind. (September 15, 2022) – CoComelon Live! JJ’s Journey presented by Premier Productions and S2BN Entertainment will be at the Embassy Theatre on Thursday, November 17, 2022 at 6 p.m. Member pre-sale will begin Thursday, September 15 at 10 a.m.; tickets go on sale to the public on Friday, September 16 at 10 […]
Embassy Theatre Presents The Adventures of Tortoise and Hare The Next Gen Program includes Learn It Live education and public performances
Fort Wayne, Ind. (September 15, 2022) – The Embassy Theatre presents Lightwire Theatre’s The Adventures of Tortoise and Hare The Next Gen as a public performance on Tuesday, October 25, 2022 at 7:30 p.m. This event goes on sale to the public on Friday, September 16 at 10 a.m. This show is an extension of […]
The Book of Mormon on Stage at the Embassy Theatre October 12 and 13
WINNER! TONY AWARD – BEST MUSICAL WINNER! NEW YORK DRAMA CRITICS CIRCLE AWARD – BEST MUSICAL WINNER! DRAMA DESK AWARD – BEST MUSICAL WINNER! OUTER CRITICS CIRCLE AWARD – BEST MUSICAL WINNER! DRAMA LEAGUE AWARD – BEST MUSICAL WINNER! GRAMMY AWARD – BEST MUSICAL THEATER ALBUM “THE BEST MUSICAL OF THIS CENTURY. Heaven on Broadway! […]
Goo Goo Dolls On The Embassy Stage This November TICKETS GO ON SALE NEXT FRIDAY, AUGUST 19
Fort Wayne, Ind. (August 12, 2022) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present the Goo Goo Dolls on Sunday, November 6, 2022, at 7:00 p.m. on the historic Embassy Theatre stage. Member pre-sale will begin Wednesday, August 17 at 10 a.m.; tickets go on sale to the public on Friday, August […]
Barenaked Ladies On The Embassy Stage This October TICKETS GO ON SALE FRIDAY, AUGUST 12
Fort Wayne, Ind. (August 8, 2022) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present the Barenaked Ladies on Sunday, October 2, 2022, at 7:30 p.m. on the historic Embassy Theatre stage. Member pre-sale will begin Wednesday, August 10 at 10 a.m.; tickets go on sale to the public on Friday, August 12 […]
An Evening with Rickey Smiley and Friends at the Embassy This Fall
Fort Wayne, Ind. (August 8, 2022) –Worldwide Events presents An Evening with Rickey Smiley and Friends at the Embassy Theatre on Friday, September 23, 2022 at 8:00 p.m. Member pre-sale started today at 10 a.m.; tickets go on sale to the public tomorrow Tuesday, August 9 at 10 a.m. Comedy legend and entertainment mogul Rickey […]
Chloe Arnold’s Syncopated Ladies LIVE at the Embassy Theatre Next March
Fort Wayne, Ind. (August 2, 2022) – The Embassy Theatre is happy to announce that Chloe Arnold’s Syncopated Ladies LIVE will bring its performance to the Embassy Theatre on Wednesday, March 8, 2023 at 7 p.m. along with master classes the day before. These events are co-presented by the Embassy Theatre and the Fort Wayne […]
SCORE! 2022 Founders Award Winner
Fort Wayne, Ind. (August 2, 2022) – The Embassy Theatre is pleased to announce that Franki Starkey of North Side High School was awarded the 2022 SCORE! Founders Award on Saturday, July 23, 2022 at Leave the Lights On, the production that was created by this year’s SCORE! participants. Franki demonstrated outstanding leadership qualities and […]
Theresa Caputo Live! The Experience Returns to the Embassy in October
Fort Wayne, Ind. (August 1, 2022) – Theresa Caputo Live! The Experience will be at the Embassy Theatre on Saturday, October 22, 2022 at 7:30 p.m. Member pre-sale will begin Thursday, August 4 at 10 a.m.; tickets go on sale to the public on Friday, August 5 at 10 a.m. This event is presented by […]
Life with the Afterlife: A Supernatural Evening with Ghost Hunter Amy Bruni at the Embassy in October
Fort Wayne, Ind. (August 1, 2022) – The Embassy Theatre is proud to present Life with the Afterlife: A Supernatural Evening with Ghost Hunter Amy Bruni on Friday, October 21 at 7:30 p.m. Member pre-sale will begin Wednesday, August 3 at 10 a.m.; tickets go on sale to the public on Friday, August 5 at […]
Media Contact for Nederlander National Markets: Micah McDade e. mmcdade@nederlandernatlmkts.com p. 312.846.4255 BROADWAY AT THE EMBASSY 2022-2023 SEASON PRESENTED BY MIDWEST AMERICA FEDERAL CREDIT UNION Renewal Subscriptions On Sale Monday, July 25 New Subscriptions On Sale Monday, August 15 Fort Wayne, Ind. (July 20, 2022) – The Embassy Theatre and Nederlander National Markets are […]
Black Violin Give Thanks Tour at the Embassy Theatre this November
Fort Wayne, Ind. (July 18, 2022) – The Embassy Theatre is thrilled to present the Black Violin Give Thanks Tour on Wednesday, November 16, 2022 at 7:30 p.m. Black Violin employs playful storytelling, whimsical string melodies and hard-hitting beats to highlight the unifying pillars of the holiday season: giving back to others and being wholeheartedly […]
A Motown Christmas Holiday Spectacular on the Embassy Theatre Stage this December
Fort Wayne, Ind. (July 12, 2022) – A Motown Christmas presented by BPE Productions will be at the Embassy Theatre on Monday, December 5 at 7:30 p.m. This show features a world-class vocal group comprised of past and present members of Motown’s most legendary groups: The Temptations, The Miracles, and The Contours. Member pre-sale will […]
Bert Kreischer: The Berty Boy Relapse Tour Comes to the Embassy in November TICKETS GO ON SALE FRIDAY, JULY 15
Fort Wayne, Ind. (July 12, 2022) – The Embassy Theatre and Outback Presents are excited to announce that Bert Kreischer: The Berty Boy Relapse Tour is coming to the Embassy Theatre on Sunday, November 13, 2022 at 7 p.m. Member pre-sale will begin Thursday, July 14 at 10 a.m., and tickets go on sale to […]
Tab Benoit on the Embassy Theatre Stage This August
Fort Wayne, Ind. (July 5, 2022) – The Embassy Theatre is pleased to present Grammy nominated singer, songwriter and guitarist Tab Benoit to the Embassy Theatre on Thursday, August 11 at 7:30 p.m. Member presale will begin Thursday, July 7 at 10 a.m., and tickets go on sale to the public on Friday, July 8 […]
Jerry Seinfeld Rescheduled at the Embassy TICKETS NOW ON SALE
Fort Wayne, Ind. (June 20, 2022) – The Embassy Theatre and JS Touring announce that America’s premier comedian, Jerry Seinfeld, has rescheduled 2020’s postponed show. He will return to the Embassy Theatre stage on June 22, 2023 at 7 p.m. Previous ticketholders can use their tickets for the new date. Remaining tickets are on sale to […]
The Rat Pack Is Back for the Holidays at the Embassy in December TICKETS GO ON SALE FRIDAY, JUNE 17
The Rat Pack Is Back for the Holidays at the Embassy in December TICKETS GO ON SALE FRIDAY, JUNE 17 Fort Wayne, Ind. (June 13, 2022) – The Embassy Theatre is happy to co-present and announce that The Rat Pack Is Back for the Holidays is bringing their tribute show to the Embassy Theatre on Friday, […]
The Embassy Celebrates 100 Years of Great Silent Films Starting Sunday
Fort Wayne, Ind. (June 8, 2022) – Join the Embassy Theatre this Sunday, June 12 as it begins a summer series that celebrates the 100th anniversary of great silent films including a special screening of The Iron Horse. Attendees will be transported back to the earliest days of Hollywood when silent films filled the screen […]
Summer Nights at the Embassy Begins June 1 Food Partners Announced
Fort Wayne, Ind. (May 31, 2022) – The Embassy will begin the seventh season of Summer Nights at the Embassy tomorrow, June 1. Summer Nights will be open every Wednesday from 5 to 9 p.m., with musical performances from 5:30 to 8:30 p.m. Summer Nights continues the tradition of highlighting and celebrating local musicians, performers […]
Whose Live Anyway? Improv Madness at the Embassy Theatre This Fall
Fort Wayne, Ind. (May 31, 2022) – The current cast members of the Emmy® nominated TV show Whose Line Is It Anyway? are proud to bring their new live improv tour Whose Live Anyway? to the Embassy Theatre on Wednesday, November 9, 2022 at 7:30 p.m. This show is presented by Martin Media. Member pre-sale […]
All Summer Nights at the Embassy Tickets Now on Sale
Fort Wayne, Ind. (May 9, 2022) – The Embassy is happy to announce that all tickets for the seventh season of Summer Nights at the Embassy are on sale. The series will begin Wednesday, June 1 and continue for 16 weeks, wrapping up on September 14. Every Wednesday Summer Nights will be open from 5 to […]
Straight No Chaser Celebrates 25th Anniversary Celebration Tour at the Embassy in December TICKETS GO ON SALE FRIDAY, MAY 6
Fort Wayne, Ind. (May 2, 2022) – Chart-topping a cappella group Straight No Chaser will celebrate their 25th anniversary in 2022 with a 62-date fall tour and their third PBS special airing nationwide starting in June. Straight No Chaser comes to the Embassy Theatre on Wednesday, December 14, 2022 at 7:30 p.m. Member pre-sale will begin […]
Bestselling Author and Humorist David Sedaris On Stage at the Embassy in November TICKETS GO ON SALE FRIDAY, MAY 6
Fort Wayne, Ind. (May 2, 2022) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present David Sedaris on Thursday, November 3, 2022 at 7:30 p.m. on the historic Embassy Theatre stage. Member pre-sale will begin Wednesday, May 4 at 10 a.m., and tickets go on sale to the public on Friday, May 6 […]
Jeff Dunham Seriously!? Returns to the Embassy Theatre TICKETS GO ON SALE FRIDAY, MAY 6
Fort Wayne, Ind. (May 6, 2022) – The Embassy Theatre is pleased to bring back Jeff Dunham to the historic Embassy Theatre stage on Thursday, September 22, 2022 at 7 p.m. Member pre-sale will begin Thursday, May 5 at 10 a.m., and tickets go on sale to the public on Friday, May 6 at 10 […]
The Princess Bride: An Inconceivable Evening with Cary Elwes Coming to the Embassy Theatre July 29
Fort Wayne, Ind. (April 11, 2022) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present The Princess Bride: An Inconceivable Evening with Cary Elwes on July 29, 2022 at 7:30 p.m. on the historic Embassy Theatre stage. Member pre-sale will begin Wednesday, April 13 at 10 a.m., and tickets go on sale to […]
Chris Isaak Comes to the Embassy Theatre This July
Fort Wayne, Ind. (April 11, 2022) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present Chris Isaak on July 16, 2022 at 7:30 p.m. on the historic Embassy Theatre stage. Member pre-sale will begin Wednesday, April 13 at 10 a.m., and tickets go on sale to the public on Friday, April 15 at […]
SCORE! 2022 Summer Theater Workshop Open for Enrollment
Fort Wayne, Ind. (April 5, 2022) – The Embassy Theatre is pleased to reveal enrollment is open for its summer SCORE! 2022 program. Students who are entering grades 7, 8 or 9 in fall 2022 are eligible to apply. The workshop will take place July 11-23 from 8:30 a.m. to 4:00 p.m. The Embassy is […]
Fort Wayne Philharmonic Players’ Association to Perform with Moser Woods on Embassy Stage
Fort Wayne, Ind. (March 31, 2022) – The Embassy Theatre is happy to announce that the Fort Wayne Philharmonic Players’ Association will be performing with Moser Woods at the Embassy Theatre on Saturday, May 21, 2022 at 8:00 p.m. Tickets go on sale to the general public on Friday, April 1 at 10 a.m. This […]
2022 Summer Nights at the Embassy Lineup Announced
Fort Wayne, Ind. (March 30, 2022) – The Embassy is pleased to announce that the seventh season of Summer Nights at the Embassy will begin Wednesday, June 1 and continue for 16 weeks, wrapping up on September 14. Every Wednesday the event will be open from 5 to 9 p.m., with performers playing from 5:30 to […]
Tonight’s Hairspray Performance Rescheduled for April 11
Tonight’s Hairspray Performance Rescheduled for April 11 Fort Wayne, Ind. (March 23, 2022) – Due to unforeseen circumstances, tonight’s performance of Hairspray has been rescheduled for Monday, April 11, 2022 at 7:30 p.m. Tickets for the original show date of March 23 are valid and will be honored at the rescheduled performance. If you have any […]
Lewis Black: Off The Rails Tour Comes to Fort Wayne Coming to the Embassy Theatre September 25, 2022
Fort Wayne, Ind. (March 21, 2022) – The Embassy Theatre and Honeywell Arts & Entertainment proudly present the Lewis Black: Off The Rails tour on September 25, 2022 on the historic Embassy Theatre stage. Member pre-sale will begin Wednesday, March 23 at 10 a.m., and tickets go on sale to the public on Friday, March […]
Complexions Contemporary Ballet coming to the Embassy Theatre in May
Fort Wayne, Ind. (Mar. 7, 2022) – The Embassy Theatre is happy to announce that Complexions Contemporary Ballet will bring its performance of “WOKE” and “Love Rocks” to the Embassy Theatre on Wednesday, May 4 at 7:30 p.m. Two master classes will be held on May 2 and 3 at 6 p.m. These events are […]
Baby Shark Live! 2022 Splash Tour Makes a Special Stop at the Embassy Theatre in May
Fort Wayne, Ind. (February 24, 2022) – The Embassy Theatre is happy to co-present and announce that The Pinkfong Company and Round Room Live will bring Baby Shark Live! 2022 Splash Tour to the Embassy Theatre on Saturday, May 7, 2022 at 2 p.m. The live show is based on The Pinkfong Company’s viral sensation, Baby […]
Black and White Silent Film Series Accompanied by the Grande Page Pipe Organ
Fort Wayne, Ind. (Feb. 23, 2022)- Join the Embassy Theatre as it celebrates the 100th anniversary of great silent films plus a special screening of The Iron Horse. Attendees will be transported back to the earliest days of Hollywood when silent films filled the screen as the melodious tunes of the pipe organ filled the […]
Glenn Miller Orchestra coming to the Embassy Theatre in August
Fort Wayne, Ind. (Feb. 22, 2022) – The Embassy Theatre is happy to announce that the Glenn Miller Orchestra is coming to the Embassy Theatre on Friday, August 12, 2022 at 7:30 p.m. Member pre-sale will begin on Tuesday, February 22 at 10 a.m., and tickets go on sale to the public on Wednesday, February […]
Buddy Nolan Memorial Concert Featuring Fort Wayne Native Organist, Mark Herman
Fort Wayne, Ind. (February 7, 2022) – The Embassy Theatre announces a “grande” celebration of the beloved Grande Page pipe organ as Mark Herman is welcomed to the stage to perform a tribute to the late organist extraordinaire, Buddy Nolan. The concert will take place on Sunday, May 1, at 3 pm. Featuring favorite tunes […]
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Mary Oliver | Biography, Nature Poet, Pulitzer Prize, Wild Geese, & Facts
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1998-07-20T00:00:00+00:00
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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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en
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/favicon.png
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Encyclopedia Britannica
|
https://www.britannica.com/biography/Mary-Oliver
|
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
Famous Poets and Poetic Form
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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Stanley Arts London
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Stanley Arts provides a home to the brightest & best of South London’s artistic community; giving them a place to work, create & dream. Explore our Stanley Family.
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Stanley Arts London
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https://stanleyarts.org/about-us/stanley-family/
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BirdGang Ltd
BirdGang Ltd are an award-winning Hip Hop Theatre company with a global reputation. Founded by Simeon Qsyea, Kendra Horsburgh and Ukweli Roach, they are a collective of movement architects, bringing their spirit, craft and live experience to brands, audiences and pupils around the world. Former associate dance company to the Young Vic, and now resident at Stanley Arts, their work includes Vicycle (World tour), The Aviary (Sri Lanka, San Francisco Hip Hop Festival, The Network (Luxembourg, San Francisco), A Vice in Harlem (Harare International Festival of the Arts 2015); A Harlem Dream (The Young Vic) and Street Dance 3D 1 and 2 the Movie (UK, India). Directly funded by ACE, Stanley Arts, Breakin’ Convention, The British Council, The Young Vic and Croydon Council.
BirdGang Ltd teach Hip Hop to a growing number of young people and through their dance classes and commercial work they support young professionals as well as dance lovers and followers, providing exercise, culture and education.
Since 2019 Birdgang have been resident artists at Stanley Arts bringing their combination of dance, education, film making, and movement architecture to a range of new projects currently in development – including a new piece for Stanley Arts’ upcoming Freedom of Movement Festival.
#BGLTDproduction #BGLTDcommercial #BGLTDeducation #BGLTDfilm
www.Birdgangltd.com @birdgangltd
Boundless Theatre
Boundless Theatre champion creative work for and by young people aged 15-25 years old across the UK. Our vision is for a world where all young adults harness their creativity to lead culture. We create exhilarating, relevant new plays and community projects with and for young audiences and curious others, touring across the UK and internationally.
Theatre for a boundless generation.
Our online community ‘The Boundless Drama Club’ is for anyone aged 15-25 years old starting out in theatre: access creative opportunities, workshops and advice in a diverse community. With this free online mailing list, you’ll have access to high quality creative resources, challenges and masterclasses, mentoring and real time connections to peers and the Boundless team. If you’re starting out, start with us.
If you want to learn more about Boundless’ work then visit our website at www.boundlesstheatre.org.uk or email our Executive Producer, Adele at Adele@boundlesstheatre.org.uk
Website: www.boundlesstheatre.org.uk
Boundless Drama Club: https://boundlesstheatre.org.uk/projects/boundless-drama-club/
Twitter: @boundlessabound
Instagram: @BoundlessaBound
Cherry Stars
Cherrystars are an award winning, community performing arts school. Their team consist of BRIT School alumni and professional television and theatre actors who specialise in teaching innovative performing arts classes to the early years.
The core values at Cherrystars are Communication, Creativity, Confidence Building and Community. They have taken great pride over the last decade, to have provided a safe, nurturing and affirming place in the local community for young children to unleash their creativity and develop a love of the arts.
cherrystars.co.uk
Queer Croydon
Queer Croydon – a one-stop shop for South London & Croydon’s queer events, news, and services.
Who are Queer Croydon?
Queer Croydon was launched as part of Croydon’s year as London Borough of Culture; with lots of help from our friends at Stanley Arts and Their Majesties.
We are an open platform for queer stories & events from Croydon and South London, sharing content across our website and social channels. We are also going to be producing our own Queer Croydon live events, showcasing the very best of local queer talent.
Queer Croydon is brought to you by a voluntary collective of queer artists and activists who make up the Queer Arts Advisory Group.
To find out more:
www.queercroydon.com
@queercroydon on FB/Instagram/X/ TikTok
Croydon Brass
Croydon Brass was originally formed as the Croydon Temperance Silver Band in 1911. The band is a friendly, diverse and enthusiastic group of players based at Stanley Arts in South Norwood. They perform at a variety of events in and around Croydon, as well as further afield.
The band’s Musical Director Paula Goodwin is also currently the associate conductor of the All Saints Concert Band.
croydonbrass.org.uk
Clare Haward
Acclaimed artist Clare Haward‘s work appears in galleries around the country and in many private collections. She regularly exhibits in national shows and competitions.
Her quixotic approach to painting confounded the presenters on the recent Sky Landscape Artist of the year for which she was selected. Her approach is rigorous and sensual, sensitive to colour and composition, edge and tone. Clare is acutely aesthetic with an exquisite colour sense and best of all she’s a fine communicator.
clarehaward.co.uk
Gareth Brookes
Gareth Brookes is a graphic novelist, printmaker and embroiderer who studied at the RCA. He uses unusual materials such as crayons, textiles and pressed flowers to make his graphic novels which include The Dancing Plague (2021, SelfMadeHero) A Thousand Coloured Castles (2017, Myriad Editions) and The Black Project (2013, Myriad Editions).
In 2018 the French edition of The Black Project was nominated in the Sélection Officielle at the Festival de la Bande Dessinée in Angoulême.
His work has appeared in exhibitions including Comics Unmasked at the British Library, the Storytelling Cities project in Seoul, South Korea, and two solo shows in London at the 155a Gallery and the WAR Gallery.
He is currently studying for a PhD at UAL.
gbrookes.com
3 Restorers
3 Restorers are a boutique workshop offering a furniture restoration & repair service to London and surrounding areas.
Whether you’re looking to revive an inherited chair with sentimental value, conserve a cherished antique chest of drawers, refurbish that (almost) perfect, mid century table you’ve just won on eBay or you simply wish to repair rather than replace in order to be environmentally responsible – they can help.
3restorers.com
Spiritual Tiik
NATURAL EMPATH, REIKI MASTER TEACHER, TRANSFORMATIONAL SPEAKER & COACH, THETA PRACTITIONER, AUTHOR, ENTREPRENEUR, AND RISNG GALACTIC STARSEED INCARNATED TO SUPPORT INDIVIDUALS TO INGITE THEIR TRUE POWER AND REDISCOVER THEIR PURPOSE.
Spiritual Tiik is a natural empath, reiki master teacher, transformational speaker & coach, theta practitioner, author, entrepreneur and rising galactic starseed incarnated to support individual to ignite their true power and rediscover their purpose. She has impacted millions of people around the world through her inspirational content across all of her social media platforms. Tiik has over two decades of experience, however, her mom would say she came out the womb ready to support individuals to rediscover their truths through cultivating change in their mental physical & energy bodies.
Spiritual Tiik is an entrepreneur launching creating brands such as Wonderfully Weird, a world wide initiative to encourage beautiful vessels to live their life authentically. She is the facilitator of life changing virtual and physical retreats for both the divine feminine and masculine encouraging individual awareness to energy to promote self healing. She supports regular mindfulness through her online workshops and classes such as Vibrate With Tiik and The New Moon Circle. Tiik intuitively creates bespoke plans to work with individuals through combining her natural awareness as an empath in conjunction with spiritual modalities utilising the teaching of Reiki, Theta Healing, Sound Therapy, Magnetic Therapy and Crystal Therapy.
“Eye am You, You Am Eye, We Are One.” Spiritual Tiik
Find out more: www.spiritualtiik.com/elevation
Good Wolf People
Good Wolf use drama and theatre to support people to learn, express themselves, be a community, be creative, and experience joy.
Kelly Ng, John Handscombe, Jo Vyvyan & Krzysia Balinska make up the team behind Good Wolf, combining their experience in Youth & Community Work, Applied Theatre, Writing and Directing.
Most recently they have been delivering online community projects, creating audio plays, and supporting young people to be connected and enjoy drama. They also provide external evaluation to arts and youth organisations.
goodwolfpeople.co.uk
Rosie Bright
Rosie specialises in the conservation and restoration of decorative surfaces (historic buildings) and furniture. She splits her time between working on site in some of the country’s most prestigious buildings and her workshop here at Stanley Arts, where she continues to carry out repairs on a diverse range of objects from polychrome sculpture to antique furniture.
Recently Rosie has been using some of her spare time to start the restoration of some of the tiles surfaces in the main Stanley Hall. Her work is slowly exposing the original grandeur of the space hidden behind layers of thick oil-based paint.
linkedin.com/in/rosie-bright-653683b
Undiscovered Talent UK
MORE THAN JUST A TALENT COMPETITION!
Undiscovered Talent UK is a platform for upcoming talent which gives hope to creative people to dream big and continue to pursue their greatness. Founded in 2019 by a creative individual named Ronell Coward, who has a passion, focus and simply loves the entertainment industry. Anyone, any age can get involved with our platform features which involves magazine, blogs, interviews, music, reviews, feedback, social media promotion and perform at our events and competitions online and live.
There’s a lot of Talent in the UK so why not create a platform for performers, acts, artists and creatives to take the stage and shine. We plan to take the show all over the UK and Worldwide to find Undiscovered Talent in many cities and countries. So watch out you big T.V shows, UTUK is right behind you.
#UndiscoveredTalentUK
Instagram – @undiscovered_talent_uk
Facebook – Undiscovered Talent UK
YouTube – Undiscovered Talent UK
Twitter – @UTUK_TALENT
Website
www.undiscoveredtalentuk.com
Vinyl Sign Studio
Vinyl Sign Studio is a family run business that offers multiple graphics and signage solutions for retail, offices, events & exhibitions, independent traders and more. Its founder, Walter Forero, has a family history of graphic designers, printers and sign makers and cumulates over 20 years’ experience within the graphics and sign making industries.
As professional London sign makers, Walter and his team know what a tight deadline means and can offer fast turnaround when needed. Whether you are looking for a new front sign for your shop, a large-scale branding for your building or a vinyl lettering for your vehicle, they can help your business stand out from the crowd through personalised, functional and visually appealing signage. Their main workshop is located in London Bridge and they recently opened another workshop here in Stanley Halls to respond to the increase in demand in the South London community.
www.vinylsignstudio.com
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dbpedia
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https://www.tiktok.com/%40officialbmth/video/7342879028413517089
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Make Your Day
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https://www.sail-world.com/news/278061/Noble-Marine-Marlow-Ropes-RS200-Nationals-Day-3
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en
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Noble Marine Marlow Ropes RS200 National Championship at Mount's Bay Sailing Club
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https://www.yachtsandyachting.com/news/278061/Noble-Marine-Marlow-Ropes-RS200-Nationals-Day-3
|
Noble Marine Marlow Ropes RS200 National Championship at Mount's Bay Sailing Club - Day 3
by Lorna Glen 7 Aug 13:45 PDT
Day 3 of the Noble Marine Marlow Ropes RS200 UK Nationals started with conditions of similar strength & direction to the previous day but without the sunshine.
The first beat of the first race started with the left looking good, Tom Goodey and Richard Thomas capitalised on this. However, a huge right shift towards the top third of the beat saw those who had dug in to the right towards the mount looking golden. Rob Henderson and Alex Warren (who went right from the start) rounded first, followed by Ed and Thomas Whitehead, then Andrew and Jill Peters.
Going downwind, the pressure was still in the same area of the course, hence the left paying, Rob and Alex lead the way, Ed and Thomas still in 2nd, then Ben Whaley and Lorna Glen. The front pack of 4 stayed much the same as a game of 'protect what you have' seemed the game plan for the next 2 legs. In the end Ed and Thomas took their 3rd win of the week, followed by Ben and Lorna, then Rob and Alex taking 3rd.
Between races there was a slight pause to proceedings as the wind shifted further round to the west. Whilst the race team were busy moving the windward and gate marks, the fleet were entertained by an RAF Hercules flyover. Banking around the mount & over the fleet - not something you see everyday!
Race 2 had James and Daniel Whitehead as pathfinder, they headed far right when much of the fleet went for the left. However, being completely honest, my attention was focused on the 5 dolphins swimming around our bow. I had never seen a dolphin before (apologies to Ben & the boats around us as I was screaming with excitement). Mounts Bay has truly delivered some spectacles this week. Around the windward mark attention did have to return to the racing, as there were a number of boats coming in on the port lay.
Ollie Evans and Zoe Nieven led at the first mark, followed by Jeremy and Becca Stephens, then Owen Bowerman and Annabelle Orme also looking good coming in from the left. With so many boats coming in from the port lay there are a number of protests so results may change. The next 2 legs saw a decrease in wind, it was a case of finding the gusts and playing the shifts. Ben and Lorna did this and took the lead, closely followed by Jeremy and Becca Stephens. Left paid on the final downwind with more pressure at the bottom of the course. Ed and Thomas gained but couldn't catch the front two boats, so stayed behind Jeremy and Becca in 2nd with Ben and Lorna finding some nice waves to extend their lead by the finish.
Tonight sees the big Wild West themed fancy dress party with band & chilli. We expect to see lots of cowboys and cowgirls, cacti, horses and more.
Results after Day 3:
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https://www.archives.gov/milestone-documents/declaration-of-independence
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Declaration of Independence (1776)
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2021-04-08T14:25:11-04:00
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EnlargeDownload Link Citation: Engrossed copy of the Declaration of Independence, August 2, 1776; Miscellaneous Papers of the Continental Congress, 1774-1789; Records of the Continental and Confederation Congresses and the Constitutional Convention, 1774-1789, Record Group 360; National Archives. Declaration of Independence, printed by John Dunlap, July 4, 1776, Records of the
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en
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National Archives
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https://www.archives.gov/milestone-documents/declaration-of-independence
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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.
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.artnews.com/art-in-america/interviews/the-south-is-a-place-of-transformation-valerie-cassel-oliver-1234614186/
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The South is a Place of Transformation
|
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2021-12-21T16:36:47+00:00
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Virginia Museum of Fine Arts curator Valerie Cassel Oliver explains the dynamism of Southern culture and argues for its central place in America’s future.
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ARTnews.com
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https://www.artnews.com/art-in-america/interviews/the-south-is-a-place-of-transformation-valerie-cassel-oliver-1234614186/
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Valerie Cassel Oliver’s recent groundbreaking show at the Virginia Museum of Fine Arts, “Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse,” appeared in the wake of a year of protest across the United States. The exhibition’s emphasis on the interaction between popular culture, in the form of music and folk arts, and contemporary art suggested a broad interpretation of American culture. Art in America took the opportunity to speak to Cassel Oliver about the implications of her show.
MARION MANEKER You once said “if you can understand the South, you can understand America.” Why is the South so central to American culture?
VALERIE CASSEL OLIVER To me, the South is a point of origin. It is where we begin as African Americans. The politics of subjugation, genocide, enslavement, disenfranchisement, and violence to perpetuate a social order and economic wealth all begins here. And this framing has persisted through multiple iterations to arrive where we are today. The South is also a space where, despite all these things, traditions have been preserved, cultures have persisted, serving as a counterpoint to and as a space of resistance against exploitation. Culture has also evolved, and the intermingling of traditions has given birth to new modes and expressions. So . . . it’s all in here! The South is inextricably linked to conversations around who we are as Americans, what we believe, and how African American identity was formed.
And this is important. For African Americans who were brought into this country through enslavement, the South is where fragments of who they were in Africa melded into an otherness dictated by European American social hierarchy. Identity was also shaped by the many other cultures encountered in this country, First Nations people in particular. So, that amalgamation has informed who we are as African Americans, and the culture we have created—and continue to create—emerges from that amalgamation.
MANEKER What is key to understanding the South? What makes the South distinctive and essential for understanding the rest of American culture?
CASSEL OLIVER Its primary role in forming this country and its wealth. The fact that so much is rooted in the earth, tied to labor on the Southern soil. It’s the coalescing of cultures under this matrix—a highly pressurized socioeconomic and political environment. What then emerges from this pressurized setting changes and shifts everything around it (even things that want to stay fixed). Nothing is spared, in my opinion. The South is a place of transformation. It’s the original melting pot.
So it’s those realities of the South that change people—and change the trajectory of this country. They change how we see ourselves. Today we are contending with the residuals of this point of origin. There is a reckoning now taking place because of that past. We as a country have to confront this. We are confronting the issues born from this past, how it has spawned poverty, economic disenfranchisement, the mythology of white supremacy, violence against black and brown bodies, and so much more. There has to be an acknowledgment of this and a move to reconcile the inequities that exist because of this history and its vestiges in our society.
MANEKER We have all these American myths about the South. We think of it as being the oldest, most hidebound and backward part of America. But your show was largely about the dynamism of the South. In another context, you made the point that the South is filled with immigrants. Now it feels like the South is a place where culture is in overdrive, where the future of a multicultural America is actually taking shape.
CASSEL OLIVER When I moved to Richmond from Houston in 2017, there was an article that highlighted the 145 languages being spoken in Houston. The South has always been a melting pot, and in more recent times it has become a place where immigrants have resettled. We tend think of New York as the ultimate melting pot, but we also had immigrants coming from all over the world and settling in the South. In the twentieth century, that went into overdrive because of the abundance of space. And because of America’s desire to be a beacon of democracy, many folks resettled in the wake of political turmoil and upheaval. The South opened its door wide to these displaced people and, along with them, their cultural traditions and languages.
We have a sizable Southeast Asian population in places like Mississippi, and Vietnamese communities in Texas and Louisiana. With each and every successive geopolitical issue, we’ve had lots of immigrants come into the region and root themselves in local environments. So this is what I mean about a new dynamism in the South.
But in truth, the dynamism has always been there. Texas was once claimed, wholly or in part, by Spain, Mexico, and even France. There were French and Caribbean communities in Louisiana. And we don’t talk much about First Nations people in this country—but they’ve been present here from the very beginning and are an essential part of this conversation. Despite this cultural complexity, the binary of black and white seems to permeate everything.
In the twenty-first century, the South has become a more contested space. People are moving back to the region. There’s a call even now for African Americans to come back and reclaim spaces in the South—a reverse migration—which would enable a continuation of what was disrupted over a century and a half ago! What if Reconstruction had been allowed to succeed? Clearly, there is something to be considered, given the investment and contributions African Americans have made to the economy of the region. Why not reclaim the land of our ancestors? Many African Americans left the South because of terrorism and political disenfranchisement. The call to repatriate Black people to the South is in part an effort to make the political leadership of the South reflect the population of the South, which is about 20 percent African American.
MANEKER Your show ties together visual culture and music. Once it was commonplace to talk about jazz being a uniquely American art form. Now, I think, you make the case that rap is an American art form created by African Americans that has become a global art form. Rap, rock and roll, rhythm and blues, jazz—these are all musical forms that are deeply rooted in African American experience and culture. These musical forms also happen to be the soundtrack of American life—and global life now too.
I think what you’re saying is African American culture is more than just music. It represents a way of seeing and experiencing things, a call and response. The strong musical call prompts a cultural response, especially in the visual arts.
I wonder if we can regard the power of music in American culture as a counterbalance against the aggressive acts supporting white supremacy that we saw in Charlottesville in 2018 and in George Floyd’s murder in 2020.
CASSEL OLIVER Culture is pervasive. It infuses and informs. It has the power to evoke, transform, and inspire. It’s about celebration and joy, but it’s also about resistance. We have used culture to transform our society and its norms.
When rock and roll was introduced, it took the music of Black artists and packaged it with whiteness. The desire was to replicate the soul and the energy, but have it “look” different. So Elvis was what the larger culture experienced, not Big Mama Thornton, who popularized the song “Hound Dog.” Well, of course, that barrier eventually fell, and the door was opened to many other artists who transformed the sonic landscape—like Chuck Berry, Bo Diddley, Sister Rosetta Tharpe, and Fats Domino.
But my point is really that the South has always been a source of great American culture emerging from African American expression, visually and sonically. Just as music has been a unique contribution, so have visual modes of expression. A foundation for modernism emerged from African American expression. We are always looking toward Europe to understand modernism in America, when in fact we should look no further than our own backyard.
MANEKER Yes, exactly. There is a strain of modernism that comes to America from Europe. But there is also a homegrown strain of modernism. Jazz is the most famous example of it. You suggested in this show that quilts are another. I think you drew a parallel between the abstract patterns in quilts, using found objects and materials, and musical riffs and improvisations, where patterns are repeated but subtly changed. Thus, quilting is another distinctively American but also distinctly modern art form.
CASSEL OLIVER Absolutely. It’s a tributary toward our contemporary selves and our contemporary visual art forms. The conceptual framing of quilts is very broad. First of all, you have certain types of patterns that are prominent in African American quilts. You have this notion of sacred geometry, a visual language and philosophy involving shapes and colors. For instance, it was once believed that evil traveled in straight lines, and the desire was to disrupt straight lines so that quilts would protect us by keeping both the body warm and the soul safe.
There were also specific characteristics and functions of color. There are loud colors, quiet colors. As these quilts get made, they’re pieced together by individuals. But when you come together to quilt them, you quilt in a group. The stitching is done as a communal activity. When you are sewing these quilts, there are conversations and, oftentimes, prayer circles. Sometimes there’s singing. The sense of community is almost palpable when you look at those quilts. The way they’re composed, they have their own kind of rhythmic sensibility. Finally, when the quilters sew, they infuse that static object with expressiveness. They are “speaking” into the cloth as weavers have done for centuries in Ghana. I see this as an extension of a global Blackness, but it also bespeaks a profound understanding of conceptual practices. What’s more, quilters often use old clothing, a material that retains the memory and energy of the wearer.
MANEKER Does that become an art form that others use as an inspiration or a departure point for other art forms?
CASSEL OLIVER Most of the people who created those traditional quilts were not engaged with the art world and, quite frankly, were not invited. The work, however, was readily embraced, and the influence of the Gee’s Bend quilters and others like Rosie Lee Tompkins has been deeply felt. The works are now more widely seen, thanks to organizations like the Souls Grown Deep Foundation, which is placing the quilts in museums.
These days, a lot of energy goes into trying to understand intellectual practices that were previously marginalized as “self-taught” and “folk.” Numerous artists have drawn upon these traditions. Sam Gilliam’s “Chasers” series, for instance, was framed upon the Flying Geese quilt pattern. More recent are the quilted works of Sanford Biggers and Bisa Butler, or the use of worn clothing in work by Kevin Beasley or Shinique Smith.
Perhaps a useful way to think of these quilts is as a kind of Arte Povera of the African American South—but they are also much more than that. They are a refusal to see the lack or nothingness of things. I love this idea, which was so beautifully framed by Fred Moten in a live exchange on “The Dirty South.” This way of thinking has existed in the South for a long time and not just among African Americans. It really became part and parcel of how we see the world. You take something that’s been thrown out and transform it or repurpose it through a “willful misuse”; you craft a completely new function, or simply elevate it and/or make it to your own liking.
MANEKER . . . working with the material that you have . . .
CASSEL OLIVER . . . and beautifying it—altering it to be what you want it to be. That also permeates the global African diaspora. We see it prominently in Africa itself and in the Caribbean. It’s that same philosophical sensibility that gets embedded in everything.
MANEKER What do you think about the iconography surrounding George Floyd? Last year, his image proliferated globally as a symbol of racist abuse. You have pointed out that Floyd grew up in Houston. Although he was murdered in Minnesota, he was very much a Southerner.
CASSEL OLIVER Not only was he a Southerner and from Houston, he was also part of the Screwed Up Click community, a constellation of rappers connected by DJ Screw, a Southern hip-hop legend. George Floyd was a contributor to that culture. The image said “George Floyd is us,” because every country has its own marginalized population, whether immigrants or Indigenous people. A social hierarchy is imposed. Through economics or politics or culture, societies codify their own hierarchies and create their desired underclasses. It’s human nature and, sadly, universal.
MANEKER There is a great vibrancy in art by African Americans right now. It may be because that, as a group, they have so much to say that is relevant to everyone. Very few of the issues are restricted to Black people. They are universal issues that happen to be well expressed by a group that is in a complex conversation with our dominant culture. Maybe that’s because there’s a much longer lineage of that in the history of the South—a history of being marginalized but also having a strong life force that tries to create connections and build a community.
CASSEL OLIVER The exhibition dealt with that. So yes, you had the sonic and the visual arts, but also variations within those disciplines. There were visual artists who were trained in the academy and those who were not, musicians who were trained and others who simply “picked up” an instrument. The idea behind having this very rich dialogue within the larger circle of makers was to seek that ethos through the various languages of the community. And I love melding academic concerns with those of artists working in a vernacular vein. I try to use language that embraces the vernacular but goes beyond “folk” or “folk art,” since I feel those terms deny the intellectualism that is clearly present in the work. So a locution like “intuitive intellectuals” feels right to me, because it suggests blending and has a resonance that is best for the moment.
We talked about African American quilts, but there are also sculptures and SLABs [customized cars featuring powerful sound systems]. Assemblage can also be performative. So the idea that you have this formal range across generations is key. And over time, the particular way that Black people live and express themselves, visually and sonically, evolves. Their modes of resistance and celebration drive the larger cultural expression. For instance, the SLAB stands as a refusal to be ignored. It’s an expression of self and a means of being seen. The cars have elaborate stereo systems and extended [wheel] rims. People play their music loud on those urban streets because they refuse to be made invisible. Period. You will see them. You will know they are there.
MANEKER They’re using amplification to reclaim, quite literally, a public space.
CASSEL OLIVER Yes, it’s a kind of reclamation—a refusal to be relegated to whatever other people feel you should be or do. You can see that refusal in the work, particularly in the work by artists who are close to the ground, who are not academically trained. Their art is not always about that one thing, of course, but it’s a kind of North Star to their practice. And then you have people who came up from the South. When you look at certain places, you begin to see the deep repositories of creative expression. People know that Jack Whitten and Thornton Dial grew up in Bessemer, Alabama. But guess who else is from Bessemer? Sun Ra.
So, you know, you have this kind of triangulation that happens both sonically and visually, that happens within the quote-unquote fine art sensibility. And you have it within vernacular art, where a form of intellect permeates the work. It manifests in everything.
MANEKER You mentioned three figures, all from the South, who are not known as Southerners. They don’t carry an identity freighted with Southernness. But is there something distinctively Southern that is also American in the broadest way?
CASSEL OLIVER I do think there’s something uniquely Southern that becomes larger. In art, there are philosophical ways of seeing, being, and doing. You are able to see something different from what is on the surface; you see the potential of what a thing can be. It’s a different sensibility—like being able to read the rings of a tree stump—that helps you understand the political, social, and economic factors giving rise to the cultural expressions of a particular time. You can see the journey.
It’s the same kind of aesthetic sensibility, whether it manifests in a visual framing or a sonic framing. This idea of how you bend a note, how you use language. You can bend meaning just as you can bend sound and time. Through the willful misuse of language, I can say one thing and mean a number of different things. It’s the inflection that you put on things. Phat! That’s a willful misuse of language. There’s also a willful misuse of materials. These actions create something, transport it, transform it—and transfigure how we see it.
MANEKER America has changed. One doesn’t need to get on a train and move to New York or Chicago to be an artist any longer. People are now more comfortable and feel more cosmopolitan in Southern cities.
CASSEL OLIVER You have to realize that during the migration, people just simply transplanted the South to other places. One often refers to these migratory spaces as “Up South.” You could be in Chicago and still be in the Mississippi Delta.
MANEKER You talked earlier about some sort of movement of people back to the South. Is there also a cultural migration?
CASSEL OLIVER I think people are moving back. Many people who left the South wanted better opportunities for their children. Those children were often sent back for periods of time to absorb Southern culture and bond with family. These days, folks are moving back in their later years. Their children are also finding new possibilities in the South. It’s affordable, with a good quality of life. There are large cities here that offer a cosmopolitan lifestyle, and some, such as Atlanta and Houston, have emerged as big art centers. So it’s all here. The infrastructure is here, the art ecology–schools, commercial galleries, not-for-profits and museums. Artists can make a living from their craft.
MANEKER So I think you just said that what looks Southern now is very different, right? We have this very clichéd idea of what the South is supposed to be. And it’s very clear that it isn’t that anymore. But it also feels as if a distinctly new idea of the South is emerging.
CASSEL OLIVER There is a sophistication to the South. It has always been here. In the twentieth century, images got affixed to the region that showed only the ugliness of Jim Crow, massive Black resistance, and the fraught nature of the Civil Rights movement. But the South is so much more than that, and a far richer place because of its history.
Southern hip-hop is interesting because it allows the South to speak to and of its contemporary self. Artists here embrace history as a holistic means of understanding the current condition. And they directly address what it means to be Southern. They say, in effect, “we might be Southern, but we’re not country. There is sophistication here.” That is why the opening text for “The Dirty South” quotes rapper Andre 3000 telling the audience at the Source Awards that “the South’s got something to say.” It was a chance for this generation to replace the old perception of the South with something completely different.
Here at the museum, I try to create narratives in which people can see themselves reflected. “The Dirty South” was about art that emerges from the Black experience, an experience that tells a national story. The exhibition aimed to trace the arc of American history that begins in the South. Its tale was told through the hands and voices of African American artists, working over the course of a century. It represented the persistence of creative imagination, innovation, and joy. And, yes, it contained trauma, but that was not the overarching narrative. It never has been.
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2
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https://www.thecrimson.com/article/2005/11/17/breaking-the-ice-with-harvest-cast/
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en
|
Breaking the Ice with 'Harvest' Cast
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2005-11-17T00:00:00
|
As they shuffle one-by-one into the Beverly Hills Four Seasons conference room, the four stars of “The Ice Harvest” reveal
|
/favicon.ico
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https://www.thecrimson.com/article/2005/11/17/breaking-the-ice-with-harvest-cast/
|
As they shuffle one-by-one into the Beverly Hills Four Seasons conference room, the four stars of “The Ice Harvest” reveal their personas—before they’ve even uttered a word.
Oliver Platt (“The West Wing”) makes the splashiest entrance, answering his cell phone (“It’s my agent”) and fussily heading to grab some water bottles from the courtesy table. Connie Nielsen (“Gladiator”), all business, makes a bee-line for her chair, though her presence hardly goes unnoticed by the score of mostly male college journalists around the room. Director Harold Ramis (“Caddyshack,” “Groundhog’s Day”) surveys the scene and remarks to no one in particular, “I want to sit at the middle of the table.”
But as the individuals settle down in their chairs, it is John Cusack who commands the room. His aloof cool, charmingly erudite quips, and laid-back appearance (sporting the same shocked hair of the film) immediately sets the tone for the interview. In the end, what emerges is a surprisingly profound discussion of the art of acting, musical inspirations, and opportunities for human redemption. But lifting the weighty themes is some lighthearted banter—and at least one mention of a “sexual bus stop in purgatory.”
CRYSTALLIZING THE CHARACTERS
Cusack plays Charlie Arglist, a mob lawyer who, as the narrative begins, has just conducted an apparently successful heist of $2 million on Christmas Eve. The victim is Bill Guerrard (Randy Quaid), the Godfather of the Kansas City crime syndicate. His partner in crime is alpha male Vic Cavanaugh (Billy Bob Thornton, in a sly reversal of the accomplice role from “A Simple Plan”), who may be playing on Charlie’s insecurities for his own agenda.
Arglist’s insecurities may remind viewers of the “Cusack Character,” the forlorn puppy dog lover boyfriend that has become inextricably tied with the actor since his Lloyd Dobler role in “Say Anything...”
But Cusack rejects Charlie’s place in this long line of lovable losers: “He’s definitely a loser, but I don’t know if he’s very lovable.”
Indeed, Charlie is a neat twist on the Cusack Character, adding a third dimension of moral ambiguity. “Make a character human, and they’re endlessly fascinating,” says Cusack. “You go out and see a bar fight, and [the fighter] looks like he’s Tarzan or from a Schwarzenegger movie, but a second later, you see the regret. We’re just creatures with all these feelings.”
Further perverting the purity of this persona is Charlie’s choice of hang outs. In particular, he seems to spend almost all of his time inhabiting strip clubs and doused in alcohol. “Why someone would spend Christmas Eve at a strip club in Wichita is a philosophically open question,” he says. “How did we end up in this sexual bus stop in purgatory?”
But glimmers of the Cusack Character shine through in his interactions with strip club manager and full-time love interest Renata (Connie Nielsen). The raspy-voiced, loose-bloused vixen and her come-hither advances seem too good to be true to the passive Charlie, and her femme fatality is a constant mystery of the film.
“She’s almost an aesthetic creation…not a real person or a type,” says Nielsen.
Another frequent companion of Charlie’s is Pete Van Heuten (Oliver Platt), the film’s resident comic relief. Though Pete has a tendency to harm more than he helps (as in a scene where a drunk misogynistic rant leads to his being hauled into the street), it’s easy to see why Charlie keeps the loyal friend close at hand.
According to Ramis, the constant state of inebriation that defines Pete came somewhat naturally to Platt. “I saw Oliver play drunk without any alcohol at all,” says Ramis.
Though Thornton was notably absent among the stars at the press conference, Cusack took care to laud his uninhibited approach to acting. “Billy Bob is kind of a lot like Oliver, where you can’t go down a road that they can’t follow you down,” says Cusack. “It’s a very free way to work.”
HAZY GENRE BLENDING
The starting point for the film was the script, written by Richard Russo and Robert Benton, and adapted from a Scott Phillips novel. It’s a nasty, biting little bugger, a film noir bejeweled with shards of sharp black comedy.
Its seedy characters—linked together through mob ties—mingle aimlessly in squalid strip clubs and vast stretches of barren glacial suburbia. They’re all motivated by a common goal: escaping the tedium that lays thick all over Wichita, Kan. It’s a reverse “Wizard of Oz,” with all of the Dorothys and Totos desperately clawing over each other for a glimpse of the Yellow Brick Road.
Though the film is being marketed as a comedy (if one that doesn’t shy away from the occasional coffin-encased gun slinger), “The Ice Harvest” is much murkier and bloodier than the trailers suggest. It evokes both the cold moral grayness and the acerbic humor of “Fargo.”
According to Ramis, the hazy blending of genres is no accident. “By following the map of the script, the film results, it becomes what it is. Then you put a label on it.”
All the actors praise the script, almost to the point of gushing, and admit that it is what drew them to the project in the first place. Platt commends the “beautifully underwritten” nature of the script, which he says allowed them to form their own relationships with the characters. “It’s more fun if we get to fill in the blanks,” he says.
Cusack agrees that with this script, the fun of the process was formulating a complex back-story for his character. “You get to kind of create a human,” he says.
FREEZE FRAME
For Ramis, his sheer love of directing kept him motivated. Though he’s spent some time in front of the camera—most notably in “Ghostbusters,” which he also co-wrote—he says “direction is the best.”
Nevertheless, he does lament “the thrill of being in front of camera. In some delicious moments, I wish I could push [the actor] aside and get in there, especially during love scenes.” Nielsen, sitting beside him, smiles and cringes.
Cusack’s human elements come out most when he talks about the music that motivated his performance. To “reinspire” himself, Cusack turned to music. At one point in filming, Ramis noticed something unusual in the sink in one of his shots, and upon further inspection found that it was Cusack’s iPod.
Indeed, Cusack lights up with interest when asked about the music that motivated his performance. At the beginning of filming, “I gave Harold some mixes,” he says. “I always have music playing in my head…I’m alive for those moments.”
He names Willie Nelson and Daniel Lanois (“everything he does sort of turns to gold”) as recent favorites, and praises the digital music revolution: “iTunes is the greatest invention since the combustion engine.” He also picks “No Expectations” off the Rolling Stones’ classic “Beggars Banquet” as the one song he would have included the film if he’d had the budget.
The studio had a different idea of what was missing from “Harvest”: a more optimistic conclusion. Ramis, approached during the rewrite phase of production, was asked if there existed the possibility that the crooked Charlie might do something good with the money. Ramis says he replied simply that “Charlie goes to orphanage and gives it to some nuns.”
Though the possibility demands a fair bit of optimism, with any luck, “The Ice Harvest” will take a seat alongside “The Blues Brothers”—or any of Ramis’ best work—in the comedy hall of fame. Just look for the one with the bullet holes.
—Staff writer Ben B. Chung can be reached at bchung@fas.harvard.edu.
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6669
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dbpedia
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0
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https://www.springlakeparkschools.org/community-education/ticket-office/theater
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en
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Spring Lake Park Schools
|
https://www.springlakeparkschools.org/uploaded/favicon.ico
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https://www.springlakeparkschools.org/uploaded/favicon.ico
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Theater - Spring Lake Park Schools, schools in Blaine, schools in Fridley, schools in Spring Lake Park, best school in Blaine, personalized learning, innovative
|
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/uploaded/favicon.ico
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https://www.springlakeparkschools.org/community-education/ticket-office/theater
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A Play By: Matt Cox
Directed by: Kevin Dutcher
For seven years a certain boy wizard went to a certain Wizard School and conquered evil. This is not his story. This is the story of the Puffs... who just happened to be there too. A tale for anyone who has never been destined to save the world.
Written and Directed by: Kevin Dutcher
The most valuable item in the Kingdom of Make Believe is a Magical Book from which all the stories of the world spring forth. When it is stolen, it’s up to 4 smart, savvy kids to get it back. They’re aided by characters that have been displaced from the book and magically brought to life – Cinderella, Captain Hook, some of Peter Pan’s Lost Boys, several Fairies and many more. Will they be able to recapture the book and return the magic of reading to the world? Come and find out, and bring the whole family along to this delightful comedy, full of catchy, memorable songs and characters that are laugh-out-loud funny.
Book by: DAVID SIMPATICO, Songs by Matthew Gerrard and Robbie Nevil; Ray Cham, Greg Cham and Andrew Seeley; Randy Petersen and Kevin Quinn; Andy Dodd and Adam Watts; Bryan Louiselle; David N. Lawrence and Faye Greenberg; Jamie Houston Music Adapted, Arranged and Produced by: Bryan Louiselle
Based on a Disney Channel Original Movie Written by: Peter Barsocchini
Directed by: Kevin Dutcher
It’s the first day after winter break at East High. The Jocks, Brainiacs, Thespians and Skater Dudes all find their cliques. Basketball team captain and resident jock, Troy, discovers that the brainy Gabriella, a girl he met singing karaoke on his ski trip, has just enrolled at East High. The couple cause an upheaval when they decide to audition for the high school musical. Although many students resent the threat posed to the "status quo," Troy and Gabriella’s alliance might just open the door for others to shine as well.
Book by: Michael Stewart Music and Lyrics by Jerry Herman Based on the play: The Matchmaker by: Thornton Wilder Original Production Directed and Choreographed by: Gower Champion, Directed by: Kevin Dutcher
This musical adaptation of Thornton Wilder’s hit play, “The Matchmaker” bursts onto the stage with humor, romance, energetic dance numbers and some of the greatest songs in musical theatre history. It’s the story of Dolly Levi, a strong-willed matchmaker, as she attempts to find a match for the miserly "well-known unmarried half-a-millionaire" Horace Vandergelder. Along the way she also succeeds in matching up the young and beautiful Widow Molloy with Vandergelder’s head clerk, Cornelius Hackl; Cornelius’ assistant, Barnaby Tucker, with Mrs. Molloy’s assistant, Minnie Fay; and the struggling artist, Ambrose Kemper, with Mr. Vandergelder’s forlorn niece, Ermengarde.
Mrs. Levi tracks Vandergelder from his hay and feed store in Yonkers to Mrs. Molloy’s hat shop in New York, out onto the streets of the city and finally to the most elegant and expensive restaurant in town. Does everyone end up “happily ever after”? Come join us and find out!
Performance dates:
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6669
|
dbpedia
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3
| 14
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https://www.themarginalian.org/2015/01/12/33-artists-in-3-acts-thornton/
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en
|
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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https://en.wikipedia.org/wiki/Hair_(musical)
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1960s counterculture rock musical
This article is about the stage musical. For the musical film adaptation, see Hair (film).
HairThe American Tribal Love-Rock MusicalMusicGalt MacDermotLyricsBook
Gerome Ragni
James Rado
Productions
1967 Off-Broadway
1968 Broadway
1968 West End
1977 Broadway revival
2009 Broadway revival
2010 West End revival
2019 UK Tour
AwardsTony Award for Best Revival of a Musical
Hair: The American Tribal Love-Rock Musical is a rock musical with a book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot. The work reflects the creators' observations of the hippie counterculture and sexual revolution of the late 1960s, and several of its songs became anthems of the anti-Vietnam War peace movement. The musical's profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused much comment and controversy.[1] The work broke new ground in musical theatre by defining the genre of "rock musical", using a racially integrated cast, and inviting the audience onstage for a "Be-In" finale.[2]
Hair tells the story of the "tribe", a group of politically active, long-haired hippies of the "Age of Aquarius" living a bohemian life in New York City and fighting against conscription into the Vietnam War. Claude, his good friend Berger, their roommate Sheila and their friends struggle to balance their young lives, loves and the sexual revolution, with their rebellion against the war and their conservative parents and society. Ultimately, Claude must decide whether to resist the draft as his friends have done, or to serve in Vietnam, compromising his pacifist principles and risking his life.
After an off-Broadway debut on October 17, 1967, at Joseph Papp's Public Theater and a run at the Cheetah nightclub from December 1967 through January 1968, the show opened on Broadway in April 1968 and ran for 1,750 performances. Simultaneous productions in cities across the United States and Europe followed shortly thereafter, including a successful London production that ran for 1,997 performances. Since then, numerous productions have been staged around the world, spawning dozens of recordings of the musical, including the 3 million-selling original Broadway cast recording. Some of the songs from its score became Top 10 hits, and a feature film adaptation was released in 1979. A Broadway revival opened in 2009, earning strong reviews and winning the Tony Award and Drama Desk Award for Best Revival of a Musical. In 2008, Richard Zoglin wrote in Time that "Today Hair seems, if anything, more daring than ever."[3]
History
[edit]
Hair was conceived by actors James Rado and Gerome Ragni. The two met in 1964 when they performed together in the Off-Broadway flop Hang Down Your Head and Die,[4] and they began writing Hair together in late 1964.[5][6] The main characters were autobiographical, with Rado's Claude being a pensive romantic and Ragni's Berger an extrovert. Their close relationship, including its volatility, was reflected in the musical. Rado explained, "We were great friends. It was a passionate kind of relationship that we directed into creativity, into writing, into creating this piece. We put the drama between us on stage."[7]
Rado described the inspiration for Hair as "a combination of some characters we met in the streets, people we knew and our own imaginations. We knew this group of kids in the East Village who were dropping out and dodging the draft, and there were also lots of articles in the press about how kids were being kicked out of school for growing their hair long".[2] He recalled, "There was so much excitement in the streets and the parks and the hippie areas, and we thought if we could transmit this excitement to the stage it would be wonderful. ... We hung out with them and went to their Be-Ins [and] let our hair grow."[8] Many cast members (Shelley Plimpton in particular) were recruited right off the street.[2] Rado said, "It was very important historically, and if we hadn't written it, there'd not be any examples. You could read about it and see film clips, but you'd never experience it. We thought, 'This is happening in the streets', and we wanted to bring it to the stage."[4] According to Rado's obituary in The New York Times, the title was inspired by "a museum stroll in mid-1965, [when he and Ragni saw] a painting of a tuft of hair by the Pop artist Jim Dine. Its title was 'Hair'."[9]
Rado and Ragni came from different artistic backgrounds. In college, Rado wrote musical revues and aspired to be a Broadway composer in the Rodgers and Hammerstein tradition. He went on to study acting with Lee Strasberg. Ragni, on the other hand, was an active member of The Open Theater, one of several groups, mostly Off-off Broadway, that were developing experimental theatre techniques.[10] He introduced Rado to the modern theatre styles and methods being developed at The Open Theater.[11] In 1966, while the two were developing Hair, Ragni performed in The Open Theater's production of Megan Terry's play Viet Rock, a story about young men being deployed to the Vietnam War.[12] In addition to the war theme, Viet Rock employed the improvisational exercises being used in the experimental theatre scene and later used in the development of Hair.[6][13]
Rado and Ragni brought their drafts of the show to producer Eric Blau who, through common friend Nat Shapiro, connected the two with Canadian composer Galt MacDermot.[14] MacDermot won a Grammy Award in 1961 for his composition "African Waltz" (recorded by Cannonball Adderley).[15] The composer's lifestyle was in marked contrast to his co-creators: "I had short hair, a wife, and, at that point, four children, and I lived on Staten Island."[8] "I never even heard of a hippie when I met Rado and Ragni."[4] But he shared their enthusiasm to do a rock and roll show.[4] "We work independently", explained MacDermot in May 1968. "I prefer it that way. They hand me the material. I set it to music."[16] MacDermot wrote the first score in three weeks,[7] starting with the songs "I Got Life", "Ain't Got No", "Where Do I Go" and the title song.[2] He first wrote "Aquarius" as an unconventional art piece, but later rewrote it into an uplifting anthem.[7]
Off-Broadway productions
[edit]
The creators pitched the show to Broadway producers and received many rejections. Eventually Joe Papp, who ran the New York Shakespeare Festival, decided he wanted Hair to open the new Public Theater (still under construction) in New York City's East Village. The musical was the first work by living authors that Papp produced.[17] The director, Gerald Freedman, the theater's associate artistic director, decided that Rado, at 35, was too old to play Claude, although he agreed to cast the 32-year-old Ragni as Berger.[9] The production did not go smoothly: "The rehearsal and casting process was confused, the material itself incomprehensible to many of the theater's staff. [Freedman] withdrew in frustration during the final week of rehearsals and offered his resignation. Papp accepted it, and the choreographer Anna Sokolow took over the show. ... After a disastrous final dress rehearsal, Papp wired Mr. Freedman in Washington, where he'd fled: 'Please come back.' Mr. Freedman did."[18]
Hair premiered off-Broadway at the Public on October 17, 1967, and ran for a limited engagement of six weeks. The lead roles were played by Walker Daniels as Claude, Ragni as Berger, Jill O'Hara as Sheila, Steve Dean as Woof, Arnold Wilkerson as Hud, Sally Eaton as Jeanie and Shelley Plimpton as Crissy.[19] Set design was by Ming Cho Lee, costume design by Theoni Aldredge, and, although Anna Sokolow began rehearsals as choreographer, Freedman received choreographer credit.[20] Although the production had a "tepid critical reception", it was popular with audiences.[18] A cast album was released in 1967.[21]
Chicago businessman Michael Butler was planning to run for the U.S. Senate on an anti-war platform. After seeing an ad for Hair in The New York Times that led him to believe the show was about Native Americans, he watched the Public's production several times[8] and joined forces with Joe Papp to reproduce the show at another New York venue after the close of its run at the Public. Papp and Butler first moved the show to The Cheetah, a discothèque at 53rd Street and Broadway. It opened there on December 22, 1967,[22] and ran for 45 performances.[2] There was no nudity in either the Public Theater or Cheetah production.[1]
Revision for Broadway
[edit]
Hair underwent a thorough overhaul between its closing at the Cheetah in January 1968 and its Broadway opening three months later. The off-Broadway book, already light on plot, was loosened even further[23] and made more realistic.[24] Thirteen new songs were added,[23] including "Let the Sun Shine In", to make the ending more uplifting.[7]
Before the move to Broadway, the creative team hired director Tom O'Horgan, who had built a reputation directing experimental theater at the La MaMa Experimental Theatre Club. He had been the authors' first choice to direct the Public Theater production, but he was in Europe at the time.[25] Newsweek described O'Horgan's directing style as "sensual, savage, and thoroughly musical ... [he] disintegrates verbal structure and often breaks up and distributes narrative and even character among different actors. ... He enjoys sensory bombardment."[26] In rehearsals, O'Horgan used techniques passed down by Viola Spolin and Paul Sills involving role playing and improvisational "games". Many of the improvisations tried during this process were incorporated into the Broadway script.[27] O'Horgan and new choreographer Julie Arenal encouraged freedom and spontaneity in their actors, introducing "an organic, expansive style of staging" that had never been seen before on Broadway.[4] The inspiration to include nudity came when the authors saw an anti-war demonstration in Central Park where two men stripped naked as an expression of defiance and freedom, and they decided to incorporate the idea into the show.[4] O'Horgan had used nudity in many of the plays he directed, and he helped integrate the idea into the fabric of the show.[2]
Papp declined to pursue a Broadway production, and so Butler produced the show himself. For a time it seemed that Butler would be unable to secure a Broadway theater, as the Shuberts, Nederlanders and other theater owners deemed the material too controversial. However, Butler had family connections and knew important people; he persuaded Biltmore Theatre owner David Cogan to make his venue available.[28]
Synopsis
[edit]
Act I
[edit]
Claude sits center stage as the "tribe" mingles with the audience. Tribe members Sheila, a New York University student who is a determined political activist, and Berger, an irreverent free spirit, cut a lock of Claude's hair and burn it in a receptacle. After the tribe converges in slow-motion toward the stage, through the audience, they begin their celebration as children of the Age of Aquarius ("Aquarius"). Berger removes his trousers to reveal a loincloth. Interacting with the audience, he introduces himself as a "psychedelic teddy bear" and reveals that he is "looking for my Donna" ("Donna").
The tribe recites a list of pharmaceuticals, legal and illegal ("Hashish"). Woof, a gentle soul, extols several sexual practices ("Sodomy") and says, "I grow things." He loves plants, his family and the audience, telling the audience, "We are all one." Hud, a militant African-American, is carried in upside down on a pole. He declares himself "president of the United States of Love" ("Colored Spade"). In a fake English accent, Claude says that he is "the most beautiful beast in the forest" from "Manchester, England". A tribe member reminds him that he's really from Flushing, New York ("Manchester England"). Hud, Woof and Berger declare what color they are ("I'm Black"), while Claude says that he's "invisible". The tribe recites a list of things they lack ("Ain't Got No"). Four African-American tribe members recite street signs in symbolic sequence ("Dead End").
Sheila is carried onstage ("I Believe in Love") and leads the tribe in a protest chant. Jeanie, an eccentric young woman, appears wearing a gas mask, satirizing pollution ("Air"). She is pregnant and in love with Claude. Although she wishes it was Claude's baby, she was "knocked up by some crazy speed freak". The tribe link together LBJ (President Lyndon B. Johnson), FBI (the Federal Bureau of Investigation), CIA (the Central Intelligence Agency) and LSD ("Initials"). Six members of the tribe appear dressed as Claude's parents, berating him for his various transgressions – he does not have a job, and he collects "mountains of paper" clippings and notes. They say that they will not give him any more money, and "the army'll make a man out of you", presenting him with his draft notice. In defiance, Claude leads the tribe in celebrating their vitality ("I Got Life").
After handing out imaginary pills to the tribe members, saying the pills are for high-profile people such as Richard Nixon, the Pope, and "Alabama Wallace", Berger relates how he was expelled from high school. Three tribe members dress up as principals in Hitler mustaches and swastika arm bands, mocking the American education system. Berger and the tribe defy them, singing "Going Down". Claude returns from his draft board physical, which he passed. He pretends to burn his Vietnam War draft card, which Berger reveals as a library card. Claude agonizes about what to do about being drafted.
Two tribe members dressed as tourists come down the aisle to ask the tribe why they have such long hair. In answer, Claude and Berger lead the tribe in explaining the significance of their locks ("Hair"). The woman states that kids should "be free, no guilt" and should "do whatever you want, just so long as you don't hurt anyone." She observes that long hair is natural, like the "elegant plumage" of male birds ("My Conviction"). She opens her coat to reveal that she's a man in drag. As the couple leaves, the tribe calls her Margaret Mead.
Sheila gives Berger a yellow shirt. He goofs around and ends up tearing it in two. Sheila voices her distress that Berger seems to care more about the "bleeding crowd" than about her ("Easy to Be Hard"). Jeanie summarizes everyone's romantic entanglements: "I'm hung up on Claude, Sheila's hung up on Berger, Berger is hung up everywhere. Claude is hung up on a cross over Sheila and Berger." Berger, Woof and another tribe member pay satiric tribute to the American flag as they fold it ("Don't Put it Down"). The tribe runs out to the audience, inviting them to a Be-In. After young and innocent Crissy describes "Frank Mills", a boy she's looking for, the tribe participates in the "Be-In". The men of the tribe burn their draft cards. Claude puts his card in the fire, then changes his mind and pulls it out. He asks, "where is the something, where is the someone, that tells me why I live and die?" ("Where Do I Go"). The tribe emerges naked, intoning "beads, flowers, freedom, happiness."
Act II
[edit]
Four tribe members have the "Electric Blues". After a black-out, the tribe enters worshiping in an attempt to summon Claude ("Oh Great God of Power"). Claude returns from the induction center, and tribe members act out an imagined conversation from Claude's draft interview, with Hud saying "the draft is white people sending black people to make war on the yellow people to defend the land they stole from the red people". Claude gives Woof a Mick Jagger poster, and Woof is excited about the gift, as he has said he's hung up on Jagger. Three white women of the tribe tell why they like "Black Boys" ("black boys are delicious ..."), and three black women of the tribe, dressed like The Supremes, explain why they like "White Boys" ("white boys are so pretty ...").
Berger gives a joint to Claude that is laced with a hallucinogen. Claude starts to trip as the tribe acts out his visions ("Walking in Space"). He hallucinates that he is skydiving from a plane into the jungles of Vietnam. Berger appears as General George Washington and is told to retreat because of an Indian attack. The Indians shoot all of Washington's men. General Ulysses S. Grant appears and begins a roll call: Abraham Lincoln (played by a black female tribe member), John Wilkes Booth, Calvin Coolidge, Clark Gable, Scarlett O'Hara, Aretha Franklin, Colonel George Custer. Claude Bukowski is called in the roll call, but Clark Gable says "he couldn't make it". They all dance a minuet until three African witch doctors kill them – all except for Abraham Lincoln who says, "I'm one of you". Lincoln, after the three Africans sing his praises, recites an alternate version of the Gettysburg Address ("Abie Baby"). Booth shoots Lincoln, but Lincoln says to him, "Shit! I'm not dyin' for no white man".
As the visions continue, four Buddhist monks enter. One monk pours a can of gasoline over another monk, who is set afire (reminiscent of the self-immolation of Thích Quảng Đức) and runs off screaming. Three Catholic nuns strangle the three remaining Buddhist monks. Three astronauts shoot the nuns with ray guns. Three Chinese people stab the astronauts with knives. Three Native Americans kill the Chinese with bows and tomahawks. Three green berets kill the Native Americans with machine guns and then kill each other. A Sergeant and two parents appear holding up a suit on a hanger. The parents talk to the suit as if it is their son and they are very proud of him. The bodies rise and play like children. The play escalates to violence until they are all dead again. They rise again and comment about the casualties in Vietnam: "It's a dirty little war" ("Three-Five-Zero-Zero"). At the end of the trip sequence, two tribe members sing, over the dead bodies, a Shakespeare speech about the nobility of Man ("What A Piece of Work Is Man"), set to music.
After the trip, Claude says "I can't take this moment to moment living on the streets. ... I know what I want to be ... invisible". As they "look at the Moon," Sheila and the others enjoy a light moment ("Good Morning Starshine"). The tribe pays tribute to an old mattress ("The Bed"). Claude is left alone with his doubts. He leaves as the tribe enters wrapped in blankets in the midst of a snow storm. They start a protest chant and then wonder where Claude has gone. Berger calls out "Claude! Claude!" Claude enters dressed in a military uniform, his hair short, but they do not see him because he is an invisible spirit. Claude says, "like it or not, they got me."
Claude and everyone sing "Flesh Failures". The tribe moves in front of Claude as Sheila and Dionne take up the lyric. The whole tribe launches into "Let the Sun Shine In", and as they exit, they reveal Claude lying down center stage on a black cloth. During the curtain call, the tribe reprises "Let the Sun Shine In" and brings audience members up on stage to dance.
(Note: This plot summary is based on the original Broadway script. The script has varied in subsequent productions.)
Principal roles; Notable cast members
[edit]
Role Off-Broadway Broadway[29] Los Angeles West End First Broadway Revival Off-Broadway Revival Second Broadway Revival[30] 1967 1968 1977 2008 2009 Claude Hooper Bukowski Walker Daniels James Rado Paul Nicholas Randall Easterbrook Jonathan Groff Gavin Creel George Berger Gerome Ragni Oliver Tobias Michael Holt Will Swenson Sheila Franklin Jill O'Hara Lynn Kellogg Jennifer Warnes Annabel Leventon Ellen Foley Caren Lyn Tackett Caissie Levy Jeanie Sally Eaton Teda Bracci Linda Kendrick Iris Rosenkrantz Kacie Sheik Neil "Woof" Donovan Steve Dean Steve Curry Jobriath Salisbury Vince Edwards Scott Thornton Bryce Ryness Hud Arnold Wilkerson Lamont Washington Ben Vereen Peter Straker Cleavant Derricks Darius Nichols Chrissy Shelley Plimpton Kay Cole Sonja Kristina Kristin Vigard Allison Case Dionne Jonelle Allen Melba Moore Gina Hardin Helen Downing Alaina Reed Patina Miller Sasha Allen "Aquarius" Soloist Ronnie Dyson Delores Hall Vince Edwards
Early productions
[edit]
Broadway
[edit]
Hair opened on Broadway at the Biltmore Theatre on April 29, 1968. The production was directed by Tom O'Horgan and choreographed by Julie Arenal, with set design by Robin Wagner, costume design by Nancy Potts, and lighting design by Jules Fisher. The original Broadway "tribe" (i.e., cast) included authors Rado and Ragni, who played the lead roles of Claude and Berger, respectively, Kellogg as Sheila, Washington as Hud, Eaton and Plimpton reprising their off-Broadway roles as Jeanie and Crissy, Melba Moore as Dionne, Curry as Woof, Ronnie Dyson (who sang "Aquarius" and "What a Piece of Work is Man"), Paul Jabara and Diane Keaton (both Moore and Keaton later played Sheila).[29] Among the performers who appeared in Hair during its original Broadway run were Ben Vereen, Keith Carradine, Barry McGuire, Ted Lange, Meat Loaf, La La Brooks, Mary Seymour (of Musique), Joe Butler, Peppy Castro (of the Blues Magoos), Robin McNamara, Heather MacRae (daughter of Gordon MacRae and Sheila MacRae), Eddie Rambeau, Vicki Sue Robinson, Beverly Bremers, Bert Sommer, Dale Soules and Kim Milford.[29] It was the first Broadway show to have a regular ticket price of $50, with 12 of the seats at this price for sale to large corporations from July 1968. The top price when it opened was $11.[31]
The Hair team soon became embroiled in a lawsuit with the organizers of the Tony Awards. After assuring producer Michael Butler that commencing previews by April 3, 1968, would assure eligibility for consideration for the 1968 Tonys, the New York Theatre League ruled Hair ineligible, moving the cutoff date to March 19. The producers brought suit[32] but were unable to force the League to reconsider.[33] At the 1969 Tonys, Hair was nominated for Best Musical and Best Director but lost out to 1776 in both categories.[34] The production ran for four years and 1,750 performances, closing on July 1, 1972.[29]
Early regional productions
[edit]
The West Coast version played at the Aquarius Theater in Los Angeles beginning about six months after the Broadway opening and running for an unprecedented two years. The Los Angeles tribe included Rado, Ragni, Ben Vereen (who started as Hud and then replaced Ragni), Willie Weatherly (who played Berger and Claude), Ted Neeley (who replaced Rado), Meat Loaf, Gloria Jones, Táta Vega, Jobriath, Jennifer Warnes and Dobie Gray.[5]
There were soon nine simultaneous productions in U.S. cities, followed by national tours.[5][35] Among the performers in these were Joe Mantegna, André DeShields, Charlotte Crossley and Alaina Reed (Chicago),[36] David Lasley, David Patrick Kelly, Meat Loaf, and Shaun Murphy (Detroit)[37] Kenny Ortega and Arnold McCuller (tour),[38] Bob Bingham (Seattle)[39] and Philip Michael Thomas (San Francisco).[40] The creative team from Broadway worked on Hair in Los Angeles, Chicago and San Francisco, as the Broadway staging served as a rough template for these and other early regional productions. A notable addition to the team in Los Angeles was Tom Smothers, who served as co-producer.[41] Regional casts consisted mostly of local actors, although a few Broadway cast members reprised their roles in other cities.[42] O'Horgan or the authors sometimes took new ideas and improvisations from a regional show and brought them back to New York, such as when live chickens were tossed onto the stage in Los Angeles.[42]
It was rare for so many productions to run simultaneously during an initial Broadway run. Producer Michael Butler, who had declared that Hair is "the strongest anti-war statement ever written", said the reason that he opened so many productions was to influence public opinion against the Vietnam War and end it as soon as possible.[43]
West End
[edit]
Hair opened at the Shaftesbury Theatre in London on September 27, 1968, led by the same creative team as the Broadway production. The opening night was delayed until the abolition of theatre censorship in England under the Theatres Act 1968 so that the show could include nudity and profanity.[44] As with other early productions, the London show added a sprinkling of local allusions and other minor departures from the Broadway version.[45]
The original London tribe included Sonja Kristina, Peter Straker, Paul Nicholas, Melba Moore, Annabel Leventon, Elaine Paige, Paul Korda, Marsha Hunt, Floella Benjamin, Alex Harvey, Oliver Tobias, Richard O'Brien and Tim Curry. This was Curry's first full-time theatrical acting role, where he met future Rocky Horror Show collaborator O'Brien.[46] Hair's engagement in London surpassed the Broadway production, running for 1,997 performances[45] until its closure was forced by the roof of the theatre collapsing in July 1973.[47]
Early international productions
[edit]
The job of leading the foreign language productions of Hair was given to Bertrand Castelli, Butler's partner and executive producer of the Broadway show.[48] Castelli was a writer/producer who traveled in Paris art circles and rubbed elbows with Pablo Picasso and Jean Cocteau. Butler described him as a "crazy showman ... the guy with the business suit and beads".[49] Castelli decided to do the show in the local language of each country at a time when Broadway shows were always done in English.[48] The translations followed the original script closely, and the Broadway stagings were used. Each script contained local references, such as street names and the names or depictions of local politicians and celebrities. Castelli produced companies in France, Germany, Mexico and other countries, sometimes also directing the productions.[48] The first European production opened in Stockholm, Sweden, on September 20, 1968, with a cast including Ulf Brunnberg and Bill Öhrström,[50] produced and directed by Pierre Fränckel[51] and choreographed by Julie Arenal,[52] and ran for 134 performances until March 1969.[53]
A German production, directed by Castelli,[48] opened a month later in Munich;[54] the tribe included Donna Summer, Liz Mitchell and Donna Wyant. A successful Parisian production of Hair opened on June 1, 1969.[55] The original Australian production premiered in Sydney on June 6, 1969, produced by Harry M. Miller and directed by Jim Sharman, who also designed the production. The tribe included Keith Glass and then Reg Livermore as Berger, John Waters as Claude and Sharon Redd as The Magician. Redd was one of six African-Americans brought to Australia to provide a racially integrated tribe.[56][57] The production broke local box-office records and ran for two years, but because of some of the language in the show, the cast album was banned in Queensland and New Zealand. The production transferred to Melbourne in 1971 and then had a national tour. It marked the stage debut of Boston-born Australian vocalist Marcia Hines.[57] In Mexico the production was banned by the government after one night in Acapulco.[58] An 18-year-old Sônia Braga appeared in the 1969 Brazilian production.[59]
Another notable production was in Belgrade, Yugoslavia, in 1969. It was the first Hair to be produced in a communist country.[60] The show, translated into Serbian, was directed by female producer-director Mira Trailović at the Atelje 212 theatre.[61][62] It featured Dragan Nikolić, Branko Milićević, Seka Sablić and Dušan Prelević.[63] Over four years, the production received 250 performances and was attended by president Tito.[61] Local references in the script included barbs aimed at Mao Zedong as well as Albania, Yugoslavia's traditional rival.[48]
By 1970, Hair was a huge financial success, and nineteen productions had been staged outside of North America. In addition to those named above, these included productions in Scandinavia, South America, Italy, Israel, Japan, Canada, the Netherlands, Switzerland and Austria.[35] According to Billboard, the various productions of the show were raking in almost $1 million every ten days, and royalties were being collected for 300 different recordings of the show's songs, making it "the most successful score in history as well as the most performed score ever written for the Broadway stage."[64]
Themes
[edit]
Hair explores many of the themes of the hippie movement of the 1960s. Theatre writer Scott Miller described these as follows:
[T]he youth of America, especially those on college campuses, started protesting all the things that they saw wrong with America: racism, environmental destruction, poverty, sexism and sexual repression, violence at home and the war in Vietnam, depersonalization from new technologies, and corruption in politics. ... Contrary to popular opinion, the hippies had great respect for America and believed that they were the true patriots, the only ones who genuinely wanted to save our country and make it the best it could be once again. ... [Long] hair was the hippies' flag – their ... symbol not only of rebellion but also of new possibilities, a symbol of the rejection of discrimination and restrictive gender roles (a philosophy celebrated in the song "My Conviction"). It symbolized equality between men and women. ... [T]he hippies' chosen clothing also made statements. Drab work clothes (jeans, work shirts, pea coats) were a rejection of materialism. Clothing from other cultures, particularly the Third World and native Americans, represented their awareness of the global community and their rejection of U.S. imperialism and selfishness. Simple cotton dresses and other natural fabrics were a rejection of synthetics, a return to natural things and simpler times. Some hippies wore old World War II or Civil War jackets as way of co-opting the symbols of war into their newfound philosophy of nonviolence.[65]
Race and the tribe
[edit]
Extending the precedents set by Show Boat (1927) and Porgy and Bess (1935), Hair opened the Broadway musical to racial integration; fully one-third of the cast was African American.[66] Except for satirically in skits, the roles for the black members of the tribe portrayed them as equals, breaking away from the traditional roles for black people in entertainment as slaves or servants.[67] An Ebony magazine article declared that the show was the biggest outlet for black actors in the history of the U.S. stage.[66]
Several songs and scenes from the show address racial issues.[65] "Colored Spade", which introduces the character Hud, a militant black male, is a long list of racial slurs ("jungle bunny ... little black sambo") topped off with the declaration that Hud is the "president of the United States of love".[68] At the end of his song, he tells the tribe that the "boogie man" will get them, as the tribe pretends to be frightened.[67] "Dead End", sung by black tribe members, is a list of street signs that symbolize black frustration and alienation. One of the tribe's protest chants is "What do we think is really great? To bomb, lynch and segregate!"[67] "Black Boys/White Boys" is an exuberant acknowledgement of interracial sexual attraction;[69] the U.S. Supreme Court had struck down laws banning interracial marriage in 1967.[70] Another of the tribe's protest chants is "Black, white, yellow, red. Copulate in a king-sized bed."[67]
"Abie Baby" is part of the Act 2 "trip" sequence: four African witch doctors, who have just killed various American historical, cultural and fictional characters, sing the praises of Abraham Lincoln, portrayed by a black female tribe member, whom they decide not to kill.[71] The first part of the song contains stereotypical language that black characters used in old movies, like "I's finished ... pluckin' y'all's chickens" and "I's free now thanks to y'all, Master Lincoln". The Lincoln character then recites a modernized version of the Gettysburg Address, while a white female tribe member polishes Lincoln's shoes with her blond hair.[67]
The many references to Native Americans throughout the script are part of the anti-consumerism, naturalism focus of the hippie movement and of Hair. The characters in the show are referred to as the "tribe", borrowing the term for Native American communities.[65] The cast of each production chooses a tribal name: "The practice is not just cosmetic ... the entire cast must work together, must like each other, and often within the show, must work as a single organism. All the sense of family, of belonging, of responsibility and loyalty inherent in the word 'tribe' has to be felt by the cast."[65] To enhance this feeling, O'Horgan put the cast through sensitivity exercises based on trust, touching, listening and intensive examination that broke down barriers between the cast and crew and encouraged bonding. These exercises were based on techniques developed at the Esalen Institute and Polish Lab Theater.[27] The idea of Claude, Berger and Sheila living together is another facet of the 1960s concept of tribe.[72]
Nudity, sexual freedom and drug use
[edit]
The brief nude scene at the end of Act I was a subject of controversy and notoriety.[1][73] Miller writes that "nudity was a big part of the hippie culture, both as a rejection of the sexual repression of their parents and also as a statement about naturalism, spirituality, honesty, openness, and freedom. The naked body was beautiful, something to be celebrated and appreciated, not scorned and hidden. They saw their bodies and their sexuality as gifts, not as 'dirty' things."[65]
Hair glorifies sexual freedom in a variety of ways. In addition to acceptance of interracial attraction, the characters' lifestyle acts as a sexually and politically charged updating of La bohème; as Rado explained, "The love element of the peace movement was palpable."[4] In the song "Sodomy", Woof exhorts everyone to "join the holy orgy Kama Sutra".[74] Toward the end of Act 2, the tribe members reveal their free love tendencies when they banter back and forth about who will sleep with whom that night.[75] Woof has a crush on Mick Jagger, and a three-way embrace between Claude, Berger and Sheila turns into a Claude–Berger kiss.[67]
Various illegal drugs are taken by the characters during the course of the show, most notably a hallucinogen during the trip sequence.[65] The song "Walking in Space" begins the sequence, and the lyrics celebrate the experience declaring "how dare they try to end this beauty ... in this dive we rediscover sensation ... our eyes are open, wide, wide, wide". Similarly, in the song "Donna", Berger sings that "I'm evolving through the drugs that you put down."[76] At another point, Jeanie smokes marijuana and dismisses the critics of "pot".[67] Generally, the tribe favors hallucinogenic or "mind expanding" drugs, such as LSD and marijuana,[77] while disapproving of other drugs such as speed and depressants. For example, Jeanie, after revealing that she is pregnant by a "speed freak", says that "methedrine is a bad scene".[67] The song "Hashish" provides a list of pharmaceuticals, both illegal and legal, including cocaine, alcohol, LSD, opium and Thorazine, which is used as an antipsychotic.[77]
Pacifism and environmentalism
[edit]
The theme of opposition to the war that pervades the show is unified by the plot thread that progresses through the book – Claude's moral dilemma over whether to burn his draft card.[65] Pacifism is explored throughout the extended trip sequence in Act 2. The lyrics to "Three-Five-Zero-Zero", which is sung during that sequence, evoke the horrors of war ("ripped open by metal explosion").[78] The song is based on Allen Ginsberg's 1966 poem, "Wichita Vortex Sutra". In the poem, General Maxwell Taylor proudly reports to the press the number of enemy soldiers killed in one month, repeating it digit by digit, for effect: "Three-Five-Zero-Zero." The song begins with images of death and dying and turns into a manic dance number, echoing Maxwell's glee at reporting the enemy casualties, as the tribe chants "Take weapons up and begin to kill".[65] The song also includes the repeated phrase "Prisoners in niggertown/ It's a dirty little war".[67]
"Don't Put It Down" satirizes the unexamined patriotism of people who are "crazy for the American flag".[79] "Be In (Hare Krishna)" praises the peace movement and events like the San Francisco and Central Park Be-Ins.[80] Throughout the show, the tribe chants popular protest slogans like "What do we want? Peace! – When do we want it? Now!" and "Do not enter the induction center".[67] The upbeat song, "Let the Sun Shine In", is a call to action, to reject the darkness of war and change the world for the better.[65]
Hair also aims its satire at the pollution caused by civilization.[65] Jeanie appears from a trap door in the stage wearing a gas mask and then sings the song "Air": "Welcome, sulfur dioxide. Hello carbon monoxide. The air ... is everywhere".[81] She suggests that pollution will eventually kill her, "vapor and fume at the stone of my tomb, breathing like a sullen perfume".[67] In a comic, pro-green vein, when Woof introduces himself, he explains that he "grows things" like "beets, and corn ... and sweet peas" and that he "loves the flowers and the fuzz and the trees".[67]
Religion and astrology
[edit]
Religion, particularly Catholicism, appears both overtly and symbolically throughout the piece, and it is often made the brunt of a joke.[65] Berger sings of looking for "my Donna", giving it the double meaning of the woman he's searching for and the Madonna.[82] During "Sodomy", a hymn-like paean to all that is "dirty" about sex, the cast strikes evocative religious positions: the Pietà and Christ on the cross.[82] Before the song, Woof recites a modified rosary. In Act II, when Berger gives imaginary pills to various famous figures, he offers "a pill for the Pope".[67] In "Going Down", after being kicked out of school, Berger compares himself to Lucifer: "Just like the angel that fell / Banished forever to hell / Today have I been expelled / From high school heaven."[83] Claude becomes a classic Christ figure at various points in the script.[84] In Act I, Claude enters, saying, "I am the Son of God. I shall vanish and be forgotten," then gives benediction to the tribe and the audience. Claude suffers from indecision, and, in his Gethsemane at the end of Act I, he asks "Where Do I Go?". There are textual allusions to Claude being on a cross, and, in the end, he is chosen to give his life for the others.[84] Berger has been seen as a John the Baptist figure, preparing the way for Claude.[65]
Songs like "Good Morning, Starshine" and "Aquarius" reflect the 1960s cultural interest in astrological and cosmic concepts.[85] "Aquarius" was the result of Rado's research into his own astrological sign.[86] The company's astrologer, Maria Crummere, was consulted about casting:[87] Sheila was usually played by a Libra or Capricorn and Berger by a Leo,[86] although Ragni, the original Berger, was a Virgo.[88] Crummere was also consulted when deciding when the show would open on Broadway and in other cities.[58] The 1971 Broadway Playbill reported that she chose April 29, 1968 for the Broadway premiere. "The 29th was auspicious ... because the moon was high, indicating that people would attend in masses. The position of the 'history makers' (Pluto, Uranus, Jupiter) in the 10th house made the show unique, powerful and a money-maker. And the fact that Neptune was on the ascendancy foretold that Hair would develop a reputation involving sex."[89]
In Mexico, where Crummere did not pick the opening date, the show was closed down by the government after one night.[58] She was not pleased with the date of the Boston opening (where the producers were sued over the show's content)[90][91] saying, "Jupiter will be in opposition to naughty Saturn, and the show opens the very day of the sun's eclipse. Terrible." But there was no astrologically safe time in the near future.[92]
Literary themes and symbolism
[edit]
Hair makes many references to Shakespeare's plays, especially Romeo and Juliet and Hamlet, and, at times, takes lyrical material directly from Shakespeare.[65] For example, the lyrics to the song "What a Piece of Work Is Man" are from Hamlet (II: scene 2) and portions of "Flesh Failures" ("the rest is silence") are from Hamlet's final lines. In "Flesh Failures/Let The Sun Shine In", the lyrics "Eyes, look your last!/ Arms, take your last embrace! And lips, O you/ The doors of breath, seal with a righteous kiss" are from Romeo and Juliet (V: iii, 111–14).[93] According to Miller, the Romeo suicide imagery makes the point that, with our complicity in war, we are killing ourselves.[65]
Symbolically, the running plot of Claude's indecision, especially his resistance to burning his draft card, which ultimately causes his demise, has been seen as a parallel to Hamlet: "the melancholy hippie".[94] The symbolism is carried into the last scene, where Claude appears as a ghostly spirit among his friends wearing an army uniform in an ironic echo of an earlier scene, where he says, "I know what I want to be ... invisible". According to Public Theater Artistic Director Oskar Eustis, "Both [Hair and Hamlet] center on idealistic brilliant men as they struggle to find their place in a world marred by war, violence, and venal politics. They see both the luminous possibilities and the harshest realities of being human. In the end, unable to effectively combat the evil around them, they tragically succumb."[95]
Other literary references include the song "Three-Five-Zero-Zero", based on Ginsberg's poem "Wichita Vortex Sutra",[96] and, in the psychedelic drug trip sequence, the portrayal of Scarlett O'Hara, from Gone with the Wind, and activist African-American poet LeRoi Jones.[67]
Dramatics
[edit]
In his introduction to the published script of Viet Rock, Richard Schechner says, "performance, action, and event are the key terms of our theatre – and these terms are not literary."[97] In the 1950s, Off-off Broadway theaters began experimenting with non-traditional theater roles, blurring the lines between playwright, director, and actor. The playwright's job was not just to put words on a page, but to create a theatrical experience based on a central idea. By 1967, theaters such as The Living Theatre, La MaMa E.T.C. and The Open Theatre were actively devising plays from improvisational scenes crafted in the rehearsal space, rather than following a traditional script.[98]
Viet Rock and Hair
[edit]
Megan Terry's Viet Rock was created using this improvisational process.[98] Scenes in Viet Rock were connected in "prelogical ways": a scene could be built from a tangent from the scene before, it could be connected psychologically, or it could be in counterpoint to the previous scene.[98] Actors were asked to switch roles in the middle of a show, and frequently in mid-scene. In her stage directions for a Senate hearing scene in Viet Rock, Terry wrote, "The actors should take turns being senators and witnesses; the transformations should be abrupt and total. When the actor is finished with one character he becomes another, or just an actor."[98]
Hair was designed in much the same way. Tom O'Horgan, the show's Broadway director, was intimately involved in the experimental theatre movement.[65] In the transition to Broadway, O'Horgan and the writers rearranged scenes to increase the experimental aspects of the show.[98] Hair asks its actors to assume several different characters throughout the course of the piece, and, as in Claude's psychedelic trip in Act 2, sometimes during the same scene. Both Hair and Viet Rock include rock music, borrowed heavily from mass media, and frequently break down the invisible "fourth wall" to interact with the audience. For example, in the opening number, the tribe mingles with audience members, and at the end of the show, the audience is invited on stage.[98]
Production design
[edit]
In the original Broadway production, the stage was completely open, with no curtain and the fly area and grid exposed to the audience. The proscenium arch was outlined with climb-ready scaffolding. Wagner's spare set was painted in shades of grey with street graffiti stenciled on the stage. The stage was raked, and a tower of abstract scaffolding upstage at the rear merged a Native American totem pole and a modern sculpture of a crucifix-shaped tree. This scaffolding was decorated with found objects that the cast had gathered from the streets of New York. These included a life-size papier-mâché bus driver, the head of Jesus, and a neon marquee of the Waverly movie theater in Greenwich Village.[99] Potts' costumes were based on hippie street clothes, made more theatrical with enhanced color and texture. Some of these included mixed parts of military uniforms, bell bottom jeans with Ukrainian embroidery, tie dyed T-shirts and a red white and blue fringed coat.[99] Early productions were primarily reproductions of this basic design.
Nude scene
[edit]
"Much has been written about that scene ... most of it silly," wrote Gene Lees in High Fidelity.[100] The scene was inspired by two men who took off their clothes to antagonize the police during an informal anti-war gathering.[7] During "Where Do I Go?", the stage was covered in a giant scrim, beneath which those choosing to participate in the scene removed their clothes. At the musical cue, "they [stood] naked and motionless, their bodies bathed in Fisher's light projection of floral patterns. They chant[ed] of 'beads, flowers, freedom, and happiness.'"[101] It lasted only twenty seconds.[102] Indeed, the scene happened so quickly and was so dimly lit that it prompted Jack Benny, during the interval at a London preview, to quip, "Did you happen to notice if any of them were Jewish?"[103] Nevertheless, the scene prompted threats of censorship and even violent reactions in some places.[8] It also became fodder for pop-cultural jokes. Groucho Marx quipped, "I was gonna go see it, and then I called up the theater. ... They said the tickets were $11 apiece. I told them I'd call back, went into my bathroom, took off all my clothes, and looked at myself in the full-length mirror. Then I called the theater and said, 'Forget it.'"[104]
The nudity was optional for the performers. The French cast was "the nudest" of the foreign groups, while the London cast "found nudity the hardest to achieve".[62] The Swedish cast was reluctant to disrobe, but in Copenhagen, the tribe thought the nudity too tame and decided to walk naked up and down the aisle during the show's prelude.[48] In some early performances, the Germans played their scene behind a big sheet labeled "CENSORED".[48][62] Original Broadway cast member Natalie Mosco said, "I was dead set against the nude scene at first, but I remembered my acting teacher having said that part of acting is being private in public. So I did it."[105] According to Melba Moore, "It doesn't mean anything except what you want it to mean. We put so much value on clothing. . ... It's like so much else people get uptight about."[106] Donna Summer, who was in the German production, said that "it was not meant to be sexual. ... We stood naked to comment on the fact that society makes more of nudity than killing."[7] Rado said that "being naked in front of an audience, you're baring your soul. Not only the soul but the whole body was being exposed. It was very apt, very honest and almost necessary."[7]
Music
[edit]
After studying the music of the Bantu at Cape Town University,[65] MacDermot incorporated African rhythms into the score of Hair.[10] He listened to "what [the Bantu] called quaylas ... [which have a] very characteristic beat, very similar to rock. Much deeper though. ... Hair is very African – a lot of [the] rhythms, not the tunes so much."[10] Quaylas stress beats on unexpected syllables, and this influence can be heard in songs like "What a Piece of Work Is Man" and "Ain't Got No Grass".[107] MacDermot said, "My idea was to make a total funk show. They said they wanted rock & roll – but to me that translated to 'funk.'"[108] That funk is evident throughout the score, notably in songs like "Colored Spade" and "Walking in Space".[108]
MacDermot has claimed that the songs "can't all be the same. You've got to get different styles. ... I like to think they're all a little different."[4] As such, the music in Hair runs the gamut of rock: from the rockabilly sensibilities of "Don't Put it Down" to the folk rock rhythms of "Frank Mills" and "What a Piece of Work is Man". "Easy to Be Hard" is pure rhythm and blues, and protest rock anthems abound: "Ain't Got No" and "The Flesh Failures". The acid rock of "Walking in Space" and "Aquarius" are balanced by the mainstream pop of "Good Morning Starshine".[109] Scott Miller ties the music of Hair to the hippies' political themes: "The hippies ... were determined to create art of the people and their chosen art form, rock/folk music was by its definition, populist. ... [T]he hippies' music was often very angry, its anger directed at those who would prostitute the Constitution, who would sell America out, who would betray what America stood for; in other words, directed at their parents and the government."[65] Theatre historian John Kenrick explains the application of rock music to the medium of the stage:
The same hard rock sound that had conquered the world of popular music made its way to the musical stage with two simultaneous hits – Your Own Thing [and] Hair. ... This explosion of revolutionary proclamations, profanity and hard rock shook the musical theatre to its roots. ... Most people in the theatre business were unwilling to look on Hair as anything more than a noisy accident. Tony voters tried to ignore Hair's importance, shutting it out from any honors. However, some now insisted it was time for a change. New York Times critic Clive Barnes gushed that Hair was "the first Broadway musical in some time to have the authentic voice of today rather than the day before yesterday.[110]
The music did not resonate with everyone. Leonard Bernstein remarked "the songs are just laundry lists"[111] and walked out of the production.[112] Richard Rodgers could only hear the beat and called it "one-third music".[111] John Fogerty said, "Hair is such a watered down version of what is really going on that I can't get behind it at all."[113] Gene Lees, writing for High Fidelity, stated that John Lennon found it "dull", and he wrote, "I do not know any musician who thinks it's good."[100]
Songs
[edit]
The score had many more songs than typical Broadway shows of the day.[5] Most had about six to ten songs per act; Hair's total is in the thirties.[114] This list reflects the songs most often included during the original Broadway run.[115]
The show was under almost perpetual re-write. Thirteen songs were added between the production at the Public Theater and Broadway, including "I Believe in Love".[115] "The Climax" and "Dead End" were cut between the productions, and "Exanaplanetooch" and "You Are Standing on My Bed" were present in previews but cut before Broadway. The Shakespearean speech "What a piece of work is a man" was originally spoken by Claude and musicalized by MacDermot for Broadway, and "Hashish" was formed from an early speech of Berger's.[115] Subsequent productions have included "Hello There", "Dead End",[115] and "Hippie Life" – a song originally written for the film that Rado included in several productions in Europe in the 1990s.[116] The 2009 Broadway revival included the ten-second "Sheila Franklin" and "O Great God of Power",[117] two songs that were cut from the original production.[citation needed]
Recordings
[edit]
The first recording of Hair was made in 1967 featuring the off-Broadway cast. The original Broadway cast recording received a Grammy Award in 1969 for Best Score from an Original Cast Show Album[118] and sold nearly 3 million copies in the U.S. by December 1969.[58] It charted at No. 1 on the Billboard 200, the last Broadway cast album to do so (as of 2016). It stayed at No. 1 for 13 weeks in 1969.[119] The album also peaked at number 2 in Australia in 1970.[120] The New York Times noted in 2007 that "The cast album of Hair was ... a must-have for the middle classes. Its exotic orange-and-green cover art imprinted itself instantly and indelibly on the psyche. ... [It] became a pop-rock classic that, like all good pop, has an appeal that transcends particular tastes for genre or period."[18] In 2019, the Library of Congress added the original Broadway cast album to the National Recording Registry.[121]
The 1993 London revival cast album contains new music that was incorporated into the standard rental version.[65] A 1969 studio album, DisinHAIRited (RCA Victor LSO-1163), contains the following songs that had been written for the show but saw varying amounts of stage time. Some of the songs were cut between the Public and Broadway productions, some had been left off the original cast album due to space, and a few were never performed onstage.[115]
"One Thousand-Year-Old Man"
"So Sing the Children of the Avenue"
"Manhattan Beggar"
"Sheila Franklin/Reading the Writing"
"Washing the World"
"Exanaplanetooch"
"Hello There"
"Mr. Berger"
"I'm Hung"
"The Climax"
"Electric Blues"
"I Dig"
"Going Down"
"You Are Standing on My Bed"
"The Bed"
"Mess O' Dirt"
"Dead End"
"Oh Great God of Power"
"Eyes Look Your Last/Sentimental Ending"
Songs from Hair have been recorded by numerous artists,[122] including Nina Simone, Shirley Bassey, Barbra Streisand and Diana Ross.[123] "Good Morning Starshine" was sung on a 1969 episode of Sesame Street by cast member Bob McGrath,[124] and versions by artists such as Sarah Brightman, Petula Clark, and Strawberry Alarm Clock have been recorded.[125] Artists as varied as Liza Minnelli and The Lemonheads have recorded "Frank Mills",[126] and Andrea McArdle, Jennifer Warnes, and Sérgio Mendes have each contributed versions of "Easy to Be Hard".[127] Hair also helped launch recording careers for performers Meat Loaf, Dobie Gray, Jennifer Warnes, Jobriath, Bert Sommer, Ronnie Dyson, Donna Summer and Melba Moore, among others.[64]
The score of Hair saw chart successes, as well. The 5th Dimension released "Aquarius/Let the Sunshine In" in 1969, which won Record of the Year in 1970[128] and topped the charts for six weeks. The Cowsills' recording of the title song "Hair" climbed to No. 2 on the Billboard Hot 100.[129] while Oliver's rendition of "Good Morning Starshine" reached No. 3.[130] Three Dog Night's version of "Easy to Be Hard" went to No. 4.[131] Nina Simone's 1968 medley of "Ain't Got No, I Got Life" reached the top 5 on the British charts.[132] In 1970, ASCAP announced that "Aquarius" was played more frequently on U.S. radio and television than any other song that year.[133]
Productions in England, Germany, France, Sweden, Japan, Israel, the Netherlands, Australia and elsewhere released cast albums,[134] and over 1,000 vocal and/or instrumental performances of individual songs from Hair have been recorded.[35] Such broad attention was paid to the recordings of Hair that, after an unprecedented bidding war, ABC Records was willing to pay a record amount for MacDermot's next Broadway adaptation Two Gentlemen of Verona.[135] The 2009 revival recording, released on June 23, debuted at No. 1 on Billboard's "Top Cast Album" chart and at No. 63 in the Top 200, qualifying it as the highest debuting album in Ghostlight Records history.[136]
Critical reception
[edit]
Reception to Hair upon its Broadway premiere was, with exceptions, overwhelmingly positive. Clive Barnes wrote in the New York Times: "What is so likable about Hair ... ? I think it is simply that it is so likable. So new, so fresh, and so unassuming, even in its pretensions."[75] John J. O'Connor of The Wall Street Journal said the show was "exuberantly defiant and the production explodes into every nook and cranny of the Biltmore Theater".[137] Richard Watts Jr. of the New York Post wrote that "it has a surprising if perhaps unintentional charm, its high spirits are contagious, and its young zestfulness makes it difficult to resist."[138]
Television reviews were even more enthusiastic. Allan Jeffreys of ABC said the actors were "the most talented hippies you'll ever see ... directed in a wonderfully wild fashion by Tom O'Horgan."[139] Leonard Probst of NBC said "Hair is the only new concept in musicals on Broadway in years and it's more fun than any other this season".[140] John Wingate of WOR TV praised MacDermot's "dynamic score" that "blasts and soars",[141] and Len Harris of CBS said "I've finally found the best musical of the Broadway season ... it's that sloppy, vulgar, terrific tribal love rock musical Hair."[142]
A reviewer from Variety, on the other hand, called the show "loony" and "without a story, form, music, dancing, beauty or artistry. ... It's impossible to tell whether [the cast has] talent. Maybe talent is irrelevant in this new kind of show business."[143] Reviews in the news weeklies were mixed; Jack Kroll in Newsweek wrote, "There is no denying the sheer kinetic drive of this new Hair ... there is something hard, grabby, slightly corrupt about O'Horgan's virtuosity, like Busby Berkeley gone bitchy."[144] But a reviewer from Time wrote that although the show "thrums with vitality [it is] crippled by being a bookless musical and, like a boneless fish, it drifts when it should swim."[145]
Reviews were mixed when Hair opened in London. Irving Wardle in The Times wrote, "Its honesty and passion give it the quality of a true theatrical celebration – the joyous sound of a group of people telling the world exactly what they feel." In the Financial Times, B. A. Young agreed that Hair was "not only a wildly enjoyable evening, but a thoroughly moral one." However, in his final review before retiring after 48 years, 78-year-old W. A. Darlington of The Daily Telegraph wrote that he had "tried hard", but found the evening "a complete bore – noisy, ugly and quite desperately funny".[146]
Acknowledging the show's critics, Scott Miller wrote in 2001 that "some people can't see past the appearance of chaos and randomness to the brilliant construction and sophisticated imagery underneath."[65] Miller notes, "Not only did many of the lyrics not rhyme, but many of the songs didn't really have endings, just a slowing down and stopping, so the audience didn't know when to applaud. ... The show rejected every convention of Broadway, of traditional theatre in general, and of the American musical in specific. And it was brilliant."[65]
Awards and nominations
[edit]
Original Broadway production
[edit]
Year Award ceremony Category Nominee Result
1969
Tony Awards[147] Best Musical Nominated Best Direction of a Musical Tom O'Horgan Nominated Grammy Awards[148] Best Score From an Original Cast Show Album Galt MacDermot, Gerome Ragni & James Rado (composers); Andy Wiswell (producer) Won
2009 Broadway revival
[edit]
Year Award ceremony Category Nominee Result
2009
Tony Awards[149] Best Revival of a Musical Won Best Performance by a Leading Actor in a Musical Gavin Creel Nominated Best Performance by a Featured Actor in a Musical Will Swenson Nominated Best Costume Design of a Musical Michael McDonald Nominated Best Lighting Design of a Musical Kevin Adams Nominated Best Sound Design of a Musical Acme Sound Partners Nominated Best Direction of a Musical Diane Paulus Nominated Best Choreography Karole Armitage Nominated Drama Desk Awards[150] Outstanding Revival of a Musical Won Outstanding Actor in a Musical Will Swenson Nominated Outstanding Featured Actor in a Musical Bryce Ryness Nominated Outstanding Director of a Musical Diane Paulus Nominated Outstanding Choreography Karole Armitage Nominated Outstanding Set Design Scott Pask Nominated Outstanding Costume Design Michael McDonald Nominated Outstanding Lighting Design in a Musical Kevin Adams Nominated
Social change
[edit]
Hair challenged many of the norms held by Western society in 1968. The name itself, inspired by the name of a Jim Dine painting depicting a comb and a few strands of hair,[5][151] was a reaction to the restrictions of civilization and consumerism and a preference for naturalism.[152] Rado remembers that long hair "was a visible form of awareness in the consciousness expansion. The longer the hair got, the more expansive the mind was. Long hair was shocking, and it was a revolutionary act to grow long hair. It was kind of a flag, really."[151]
The musical caused controversy when it was first staged. The Act I finale was the first time a Broadway show had seen totally naked actors and actresses,[1] and the show was charged with the desecration of the American flag and the use of obscene language.[8][153] These controversies, in addition to the anti-Vietnam War theme, attracted occasional threats and acts of violence during the show's early years and became the basis for legal actions both when the show opened in other cities and on tour. Two cases eventually reached the U.S. Supreme Court.[citation needed]
Legal challenges and violent reactions
[edit]
The touring company of Hair met with resistance throughout the United States. In South Bend, Indiana, the Morris Civic Auditorium refused booking,[154] and in Evansville, Indiana, the production was picketed by several church groups.[155] In Indianapolis, Indiana, the producers had difficulty securing a theater, and city authorities suggested that the cast wear body stockings as a compromise to the city's ordinance prohibiting publicly displayed nudity.[154] Productions were frequently confronted with the closure of theaters by the fire marshal, as in Gladewater, Texas.[156] Chattanooga's 1972 refusal to allow the play to be shown at the city-owned Memorial Auditorium[157][158] was later found by the U.S. Supreme Court to be an unlawful prior restraint.[159]
The legal challenges against the Boston production were appealed to the U.S. Supreme Court. The Chief of the Licensing Bureau took exception to the portrayal of the American flag in the piece,[160] saying, "anyone who desecrates the flag should be whipped on Boston Common."[90] Although the scene was removed before opening, the District Attorney's office began plans to stop the show, claiming that "lewd and lascivious" actions were taking place onstage. The Hair legal team obtained an injunction against criminal prosecution from the Superior Court,[161] and the D.A. appealed to the Massachusetts Supreme Judicial Court. At the request of both parties, several of the justices viewed the production and handed down a ruling that "each member of the cast [must] be clothed to a reasonable extent." The cast defiantly played the scene nude later that night, stating that the ruling was vague as to when it would take effect.[90] The next day, April 10, 1970, the production closed, and movie houses, fearing the ruling on nudity, began excising scenes from films in their exhibition. After the Federal appellate bench reversed the Massachusetts court's ruling, the D.A. appealed the case to the U.S. Supreme Court. In a 4–4 decision, the Court upheld the lower court's decision, allowing Hair to re-open on May 22.[91]
In April 1971, a bomb was thrown at the exterior of a theater in Cleveland, Ohio that had been housing a production, bouncing off the marquee and shattering windows in the building and in nearby storefronts.[162] That same month, the families of cast member Jonathon Johnson and stage manager Rusty Carlson died in a fire in the Cleveland hotel where 33 members of the show's troupe had been staying.[163][164] The Sydney, Australia production's opening night was interrupted by a bomb scare in June 1969.[165]
Worldwide reactions
[edit]
Local reactions to the controversial material varied greatly. San Francisco's large hippie population considered the show an extension of the street activities there, often blurring the barrier between art and life by meditating with the cast and frequently finding themselves onstage during the show.[42] An 18-year-old Princess Anne was seen dancing onstage in London,[166] and in Washington DC, Henry Kissinger attended. In St. Paul, Minnesota, a protesting clergyman released 18 white mice into the lobby hoping to frighten the audience.[42] Jim Lovell and Jack Swigert, after dubbing Apollo 13's lunar module "Aquarius" after the song, walked out of the production at the Biltmore in protest of perceived anti-Americanism and disrespect of the flag.[167]
An Acapulco, Mexico production of Hair, directed by Castelli,[48] played in 1969 for one night. After the performance, the theater, located across the street from a popular local bordello, was padlocked by the government, which said the production was "detrimental to the morals of youth."[89] The cast was arrested soon after the performance and taken to Immigration, where they agreed to leave the country, but because of legal complications they were forced to go into hiding.[168] They were expelled from Mexico days later.[169][170]
Hair effectively marked the end of stage censorship in the United Kingdom.[146] London's stage censor, the Lord Chamberlain, originally refused to license the musical, and the opening was delayed until Parliament passed a bill stripping him of his licensing power.[146] In Munich, authorities threatened to close the production if the nude scene remained; however, after a local Hair spokesman declared that his relatives had been marched nude into Auschwitz, the authorities relented.[48] In Bergen, Norway, local citizens formed a human barricade to try to prevent the performance.[48]
The Parisian production encountered little controversy, and the cast disrobed for the nude scene "almost religiously" according to Castelli, nudity being common on stage in Paris.[171] Even in Paris there was nevertheless occasional opposition, however, such as when a member of the local Salvation Army used a portable loud speaker to exhort the audience to halt the presentation.[48][172]
Subsequent productions
[edit]
1970s
[edit]
The first college production took place in 1970 at Memphis State University (now the University of Memphis) in Tennessee, led by theater department director Keith Kennedy.[173][174] The cast also participated in the Atlanta International Pop Festival in 1970.[175] WMC-TV produced a 1971 documentary chronicling the production.[176]
A Broadway revival of Hair opened in 1977 for a run of 43 performances. It was produced by Butler, directed by O'Horgan and performed in the Biltmore Theater, where the original Broadway production had played. The cast included Ellen Foley, Annie Golden, Loretta Devine, Cleavant Derricks and Kristen Vigard.[177] Newcomer Peter Gallagher left the ensemble during previews to take the role of Danny Zuko in a tour of Grease.[178] Reviews were generally negative, and critics accused the production of "showing its gray".[179] Few major revivals of Hair followed until the early 1990s.[citation needed]
1980s and 1990s
[edit]
A 20th anniversary concert event was held in May 1988 at the United Nations General Assembly to benefit children with AIDS.[180] The event was sponsored by First Lady Nancy Reagan with Barbara Walters giving the night's opening introduction.[181] Rado, Ragni and MacDermot reunited to write nine new songs for the concert. The cast of 163 actors included former stars from various productions around the globe: Moore, Vereen, Williams and Summer, as well as guest performers Bea Arthur, Frank Stallone and Dr. Ruth Westheimer. Ticket prices ranged from $250 to $5,000 and the proceeds went to the United States Committee for UNICEF and the Creo Society's Fund for Children with AIDS.[181]
A 1985 production of Hair mounted in Montreal was reportedly the 70th professional production of the musical.[35] In November 1988, Michael Butler produced Hair at Chicago's Vic Theater to celebrate the shows' 20th anniversary. The production was well received and ran until February 1989.[181] From 1990 to 1991, Pink Lace Productions ran a U.S. national tour of Hair that included stops in South Carolina, Georgia, Tennessee and Kentucky.[181] After Ragni died in 1991, MacDermot and Rado continued to write new songs for revivals through the 1990s. Hair Sarajevo, AD 1992 was staged during the siege of Sarajevo as an appeal for peace.[35] Rado directed a $1 million, 11 city national tour in 1994 that featured actor Luther Creek. With MacDermot returning to oversee the music, Rado's tour celebrated the show's 25th anniversary.[182] A small 1990 "bus and truck" production of Hair toured Europe for over 3 years,[182] and Rado directed various European productions from 1995 to 1999.[116]
A production opened in Australia in 1992[183] and a short-lived London revival starring John Barrowman and Paul Hipp opened at the Old Vic in London in 1993, directed by Michael Bogdanov.[184][185] While the London production was faithful to the original, a member of the production staff said the reason it "flopped" was because the tribe consisted of "Thatcher's children who didn't really get it".[186] Other productions were mounted around the world, including South Africa, where the show had been banned until the eradication of Apartheid.[187] In 1996, Butler brought a month-long production to Chicago, employing the Pacific Musical Theater, a professional troupe in residence at California State University, Fullerton. Butler ran the show concurrently with the 1996 Democratic National Convention, echoing the last time the DNC was in Chicago: 1968.[188] A 30th Anniversary Off-Off Broadway production was staged at Third Eye Repertory. It was directed by Shawn Rozsa.[189]
2000s and 2010s
[edit]
In 2001, the Reprise! theatre company in Los Angeles performed Hair at the Wadsworth Theatre, starring Steven Weber as Berger, Sam Harris as Claude and Jennifer Leigh Warren as Sheila.[190] That same year, Encores! Great American Musicals in Concert ended its 2001 City Center season with a production of Hair starring Luther Creek, Idina Menzel and Tom Plotkin, and featuring Hair composer Galt MacDermot on stage playing the keyboards.[191] An Actors' Fund benefit of the show was performed for one night at the New Amsterdam Theater in New York City in 2004. The Tribe included Shoshana Bean, Raúl Esparza, Jim J. Bullock, Liz Callaway, Gavin Creel, Eden Espinosa, Harvey Fierstein, Ana Gasteyer, Annie Golden, Jennifer Hudson, Julia Murney, Jai Rodriguez, RuPaul, Michael McKean, Laura Benanti and Adam Pascal.[192]
In 2005, a London production opened at the Gate Theatre, directed by Daniel Kramer. James Rado approved an updating of the musical's script to place it in the context of the Iraq War instead of the Vietnam War.[193] Kramer's modernized interpretation included "Aquarius" sung over a megaphone in Times Square, and nudity that called to mind images from Abu Ghraib.[194] In March 2006, Rado collaborated with director Robert Prior for a CanStage production of Hair in Toronto,[195] and a revival produced by Pieter Toerien toured South Africa in 2007. Directed by Paul Warwick Griffin, with choreography by Timothy Le Roux, the show ran at the Montecasino Theatre in Johannesburg and at Theatre on the Bay in Cape Town.[196] A two-week run played at the Teatro Tapia in Old San Juan, Puerto Rico, in March 2010, directed by Yinoelle Colón.[197]
Michael Butler produced Hair at the MET Theatre in Los Angeles from September 14 through December 30, 2007. The show was directed and choreographed by Bo Crowell, with musical direction from Christian Nesmith.[198][199] Butler's production of Hair won the LA Weekly Theater Award for Musical of the Year.[200]
For three nights in September 2007, Joe's Pub and the Public Theater presented a 40th anniversary production of Hair at the Delacorte Theater in Central Park. This concert version, directed by Diane Paulus, featured Jonathan Groff as Claude and Galt MacDermot on stage on the keyboards. The cast also included Karen Olivo as Sheila and Will Swenson as Berger.[201] Actors from the original Broadway production joined the cast on stage during the encore of "Let the Sun Shine In." Demand for the show was overwhelming, as long lines and overnight waits for tickets far exceeded that for other Delacorte productions such as Mother Courage and Her Children starring Meryl Streep and Kevin Kline.[202]
Nine months later, The Public Theater presented a fully staged production of Hair at the Delacorte in a limited run from July 22, 2008, to September 14, 2008.[203] Paulus again directed, with choreography by Karole Armitage. Groff and Swenson returned as Claude and Berger, together with others from the concert cast.[204] Caren Lyn Manuel played Sheila, and Christopher J. Hanke replaced Groff as Claude on August 17.[205] Reviews were generally positive, with Ben Brantley of The New York Times writing that "this production establishes the show as more than a vivacious period piece. Hair, it seems, has deeper roots than anyone remembered".[206] Time magazine wrote: "Hair ... has been reinvigorated and reclaimed as one of the great milestones in musical-theatre history. ... Today Hair seems, if anything, more daring than ever."[3]
2009 Broadway revival and 2010 U.S. National Tour
[edit]
The Public Theater production transferred to Broadway at the Al Hirschfeld Theatre, beginning previews on March 6, 2009, with an official opening on March 31, 2009. Paulus and Armitage again directed and choreographed, and most of the cast returned from the production in the park. A pre-performance ticket lottery was held nightly for $25 box-seat tickets.[207] The opening cast included Gavin Creel as Claude, Will Swenson as Berger, Caissie Levy as Sheila, Megan Lawrence as Mother and Sasha Allen as Dionne.[208] Designers included Scott Pask (sets), Michael McDonald (costumes) and Kevin Adams (lighting).[209]
Critical response was almost uniformly positive.[210] The New York Daily News headline proclaimed "Hair Revival's High Fun". The review praised the daring direction, "colorfully kinetic" choreography and technical accomplishments of the show, especially the lighting, commenting that "as a smile-inducing celebration of life and freedom, [Hair is] highly communicable"; but warning: "If you're seated on the aisle, count on [the cast] to be in your face or your lap or ... braiding your tresses."[211] The New York Post wrote that the production "has emerged triumphant. ... These days, the nation is fixated less on war and more on the economy. As a result, the scenes that resonate most are the ones in which the kids exultantly reject the rat race."[212] Variety enthused, "Director Diane Paulus and her prodigiously talented cast connect with the material in ways that cut right to the 1967 rock musical's heart, generating tremendous energy that radiates to the rafters. ... What could have been mere nostalgia instead becomes a full-immersion happening. ... If this explosive production doesn't stir something in you, it may be time to check your pulse."[213] The Boston Globe dissented, saying that the production "felt canned" and "overblown" and that the revival "feels unbearably naive and unforgivably glib".[214] Ben Brantley, writing for The New York Times, reflected the majority, however, delivering a glowing review:
Having moved indoors to Broadway from the Delacorte Theater ... the young cast members ... show no signs of becoming domesticated. On the contrary, they're tearing down the house. ... This emotionally rich revival ... delivers what Broadway otherwise hasn't felt this season: the intense, unadulterated joy and anguish of that bi-polar state called youth. ... Karole Armitage's happy hippie choreography, with its group gropes and mass writhing, looks as if it's being invented on the spot. But there's intelligent form within the seeming formlessness. ... [Paulus finds] depths of character and feeling in [the 1968 show about kids] frightened of how the future is going to change them and of not knowing what comes next. ... Every single ensemble member emerges as an individual. ... After the show I couldn't stop thinking about what would happen to [the characters]. Mr. MacDermot's music, which always had more pop than acid, holds up beautifully, given infectious life by the onstage band and the flavorfully blended voices of the cast.[215]
The Public Theater struggled to raise the $5.5 million budgeted for the Broadway transfer, because of the severity of the economic recession in late 2008, but it reached its goal by adding new producing partners. Director Diane Paulus helped keep costs low by using an inexpensive set. The show grossed a healthy $822,889 in its second week.[216][217] On April 30, 2009, on the Late Show with David Letterman, the cast recreated a performance on the same stage at the Ed Sullivan Theater by the original tribe.[218] The production won the Tony Award for Best Revival of a Musical,[219] the Drama Desk Award for Outstanding Revival of a Musical[220] and the Drama League Award for Distinguished Revival of a Musical.[221] By August 2009, the revival had recouped its entire $5,760,000 investment, becoming one of the fastest-recouping musicals in Broadway history.[222] Its cast album was nominated for the 2010 Grammy Award for Best Musical Show Album.[223]
When the Broadway cast transferred to London for the 2010 West-End revival, a mostly new tribe took over on Broadway on March 9, 2010, including former American Idol finalists Ace Young as Berger and Diana DeGarmo as Sheila. Kyle Riabko assumed the role of Claude, Annaleigh Ashford played Jeanie, and Vanessa Ray was Chrissie. Rachel Bay Jones later played Mother and other roles.[224] Sales decreased after the original cast transferred to London, and the revival closed on June 27, 2010, after 29 previews and 519 regular performances.[225][226]
A U.S. National Tour of the production began on October 21, 2010. Principals included Steel Burkhardt as Berger, Paris Remillard as Claude and Caren Lyn Tackett as Sheila.[227] The tour received mostly positive reviews.[223] The show returned to Broadway for an engagement at the St. James Theatre from July 5 through September 10, 2011. After that stop, the tour resumed.[228] The tour ended on January 29, 2012.[229]
2010 West End revival
[edit]
The 2009 Broadway production was duplicated at the Gielgud Theatre in London's West End. Previews began on April 1, 2010, with an official opening on April 14. The producers were the Public Theater, together with Cameron Mackintosh and Broadway Across America. Nearly all of the New York cast relocated to London, but Luther Creek played Woof.[230][231] The London revival closed on September 4, 2010.[232]
The production received mostly enthusiastic reviews. Michael Billington of The Guardian described it as "a vibrant, joyous piece of living theatre", writing, "it celebrates a period when the joy of life was pitted against the forces of intolerance and the death-dealing might of the military–industrial complex. As Shakespeare once said: 'There's sap in't yet.'"[233] Charles Spencer in The Daily Telegraph agreed: "This is a timely and irresistibly vital revival of the greatest of all rock musicals. ... The verve and energy of the company ... is irresistible."[234] Michael Coveney of The Independent wrote that Hair is "one of the great musicals of all time, and a phenomenon that, I'm relieved to discover, stands up as a period piece".[235] In The Times, Benedict Nightingale commented that "it's exhilarating, as well as oddly poignant, when a multihued cast dressed in everything from billowing kaftans to Ruritanian army jackets race downstage while delivering that tuneful salute to an age of Aquarius that still refuses to dawn."[236]
2014 Hollywood Bowl
[edit]
In August 2014, the 2009 Broadway version returned for a three-night engagement at the Hollywood Bowl. Directed by Adam Shankman, the cast included Kristen Bell as Sheila, Hunter Parrish as Claude, Benjamin Walker as Berger, Amber Riley as Dionne, Jenna Ushkowitz as Jeanie, Sarah Hyland as Crissy, Mario as Hud, and Beverly D'Angelo and Kevin Chamberlin as Claude's parents.[237]
UK 50th anniversary production and 2019 national tour
[edit]
A 2016 production in Manchester, England, at the Hope Mill Theatre, directed by Jonathan O'Boyle and choreographed by William Whelton, starring Robert Metson as Claude, Laura Johnson as Sheila and Ryan Anderson as Berger, earned positive reviews.[238] In 2017, the musical's 50th anniversary, the staging was repeated Off West-End at The Vaults theatre in London, with Metson and Johnson repeating their roles and Andy Coxon as Berger.[239] The production won the WhatsOnStage Award for Best Off-West End Production.[240] A UK national tour of the production began in March 2019, starring Jake Quickenden as Berger, Daisy Wood-Davis as Sheila, Paul Wilkins as Claude and Marcus Collins as Hud.[241]
International success
[edit]
Hair has been performed in most of the countries of the world.[187] After the Berlin Wall fell, the show traveled for the first time to Poland, Lebanon, the Czech Republic and Sarajevo (featured on ABC's Nightline with Ted Koppel, when Phil Alden Robinson visited that city in 1996 and discovered a production of Hair there in the midst of the war).[187] In 1999, Michael Butler and director Bo Crowell helped produce Hair in Russia at the Stas Namin Theatre located in Moscow's Gorky Park. The Moscow production caused a similar reaction as the original did 30 years earlier because Russian soldiers were fighting in Chechnya at the time.[242][243]
Rado wrote in 2003 that the only places where the show had not been performed were "China, India, Vietnam, the Arctic and Antarctic continents as well as most African countries."[187] Since then, an Indian production has been mounted.[244]
Adaptations
[edit]
Film
[edit]
Main article: Hair (film)
A musical film adaptation of the same name was released in 1979. Directed by Miloš Forman with choreography by Twyla Tharp and a screenplay by Michael Weller, the film stars John Savage, Treat Williams and Beverly D'Angelo, with Golden, Moore, Dyson, Foley, Dorsey Wright, Don Dacus, Nell Carter and Cheryl Barnes. It was nominated for two Golden Globes: Best Motion Picture – Musical or Comedy, and New Star of the Year in a Motion Picture (for Williams), and Forman was nominated for a César Award.[245]
Several songs were deleted, and the film's storyline departs significantly from the musical. The character of Claude is rewritten as an innocent draftee from Oklahoma, newly arrived in New York to join the military, and Sheila is a high-society debutante who catches his eye. In perhaps the greatest diversion, a mistake leads Berger to go to Vietnam in Claude's place, where he is killed.[246] While the film received generally positive reviews, Ragni and Rado said it failed to capture the essence of Hair by portraying hippies as "oddballs" without any connection to the peace movement.[245]
Cultural impact
[edit]
Popular culture
[edit]
The New York Times noted, in 2007, that "Hair was one of the last Broadway musicals to saturate the culture as shows from the golden age once regularly did."[18] Songs from the show continue to be recorded by major artists. In the 1990s, Evan Dando's group The Lemonheads recorded "Frank Mills" for their 1992 album It's a Shame About Ray, and Run DMC sampled "Where Do I Go" for their 1993 single "Down With the King" which went to No. 1 on the Billboard rap charts and reached the top 25 in the Billboard Hot 100 chart.[247][248] In 2004 "Aquarius", from the 1979 film version, was honored at number 33 on AFI's 100 Years ... 100 Songs.[249]
Songs from the musical have been featured in films and television episodes. For example, in the 2005 film Charlie and the Chocolate Factory, the character Willy Wonka welcomed the children with lyrics from "Good Morning Starshine".[250] "Aquarius" was performed in the final episode of Laverne and Shirley in 1983, where the character Carmine moves to New York City to become an actor, and auditions for Hair.[251] "Aquarius/Let the Sunshine In" was also performed in the final scene in the film The 40-Year-Old Virgin,[252] and Three Dog Night's recording of "Easy to Be Hard" was featured in the first part of David Fincher's film Zodiac.[253] On the Simpsons episode "The Springfield Files", the townspeople, Leonard Nimoy, Chewbacca, Dana Scully and Fox Mulder all sing "Good Morning Starshine".[254] The episode "Hairography" of the show Glee includes a much-criticized mash-up of the songs "Hair" and "Crazy in Love" by Beyoncé.[255] In addition, Head of the Class featured a two-part episode in 1990 where the head of the English department is determined to disrupt the school's performance of Hair.[256] The continued popularity of Hair is seen in its number ten ranking in a 2006 BBC Radio 2 listener poll of the "[United Kingdom]'s Number One Essential Musicals".[257]
Because of the universality of its pacifist theme, Hair continues to be a popular choice for high-school and university productions.[35] Amateur productions of Hair are also popular worldwide.[258] In 2002, Peter Jennings featured a Boulder, Colorado, high school production of Hair for his ABC documentary series In Search of America.[259] A September 2006 community theater production at the 2,000-seat Count Basie Theater in Red Bank, New Jersey, was praised by original producer Michael Butler, who said it was "one of the best Hairs I have seen in a long time."[260] Another example of a recent large-scale amateur production is the Mountain Play production at the 4,000-seat Cushing Memorial Amphitheatre in Mount Tamalpais State Park in Mill Valley, California, in the spring of 2007.[261]
Legacy
[edit]
Hair was Broadway's "first fully realized" concept musical, a form that dominated the musical theatre of the seventies,[262] including shows like Company, Follies, Pacific Overtures and A Chorus Line.[262] While the development of the concept musical was an unexpected consequence of Hair's tenure on Broadway, the expected rock music revolution on Broadway turned out to be less than complete.[262]
MacDermot followed Hair with three successive rock scores: Two Gentlemen of Verona (1971); Dude (1972), a second collaboration with Ragni; and Via Galactica (1972). While Two Gentlemen of Verona found receptive audiences and a Tony for Best Musical, Dude failed after just sixteen performances, and Via Galactica flopped after a month.[263] According to Horn, these and other such "failures may have been the result of producers simply relying on the label 'rock musical' to attract audiences without regard to the quality of the material presented".[263] Jesus Christ Superstar (1970) and Godspell (1971) were two religiously themed successes of the genre. Grease (1971) reverted to the rock sounds of the 1950s, and black-themed musicals like The Wiz (1975) were heavily influenced by gospel, R&B and soul music. By the late 1970s, the genre had played itself out.[263] Except for a few outposts of rock, like Dreamgirls (1981) and Little Shop of Horrors (1982), audience tastes in the 1980s turned to megamusicals with pop scores, like Les Misérables (1985) and The Phantom of the Opera (1986).[264] Some later rock musicals, such as Rent (1996) and Spring Awakening (2006), as well as jukebox musicals featuring rock music, like We Will Rock You (2002) and Rock of Ages (2009), have found success. But the rock musical did not quickly come to dominate the musical theatre stage after Hair. Critic Clive Barnes commented, "There really weren't any rock musicals. No major rock musician ever did a rock score for Broadway. ... You might think of the musical Tommy, but it was never conceived as a Broadway show. ... And one can see why. There's so much more money in records and rock concerts. I mean, why bother going through the pain of a musical which may close in Philadelphia?"[263][265]
On the other hand, Hair had a profound effect not only on what was acceptable on Broadway, but as part of the very social movements that it celebrated. For example, in 1970, Butler, Castelli and the various Hair casts contributed to fundraising for the World Assembly of Youth, a United Nations–sponsored organization formed in connection with the celebration of the 25th anniversary of the United Nations.[266] The Assembly enabled 750 young representatives from around the world to meet in New York in July 1970 to discuss social issues.[267][268] For about a week, cast members worldwide collected donations at every show for the fund. Hair raised around $250,000 and ended up being the principal financier of the Assembly.[269] Cast and crew members also contributed a day's pay, and Butler contributed a day's profits from these productions.[266][267] Moreover, as Ellen Stewart, founder of La MaMa E. T. C., noted:
Hair came with blue jeans, comfortable clothing, colors, beautiful colors, sounds, movement. ... And you can go to AT&T and see a secretary today, and she's got on blue jeans. ... You can go anywhere you want, and what Hair did, it is still doing twenty years later. ... A kind of emancipation, a spiritual emancipation that came from [O'Horgan's] staging. ... Hair until this date has influenced every single thing that you see on Broadway, off-Broadway, off-off-Broadway, anywhere in the world, you will see elements of the experimental techniques that Hair brought not just to Broadway, but to the entire world.[270]
See also
[edit]
List of plays with anti-war themes
List of anti-war songs
References
[edit]
Notes
Bibliography
Davis, Lorrie and Rachel Gallagher. Letting Down My Hair: Two Years with the Love Rock Tribe (1973) A. Fields Books ISBN 0-525-63005-8
Horn, Barbara Lee. The Age of Hair: Evolution and the Impact of Broadway's First Rock Musical (New York, 1991) ISBN 0-313-27564-5
Johnson, Jonathon. Good Hair Days: A Personal Journey with the American Tribal Love-Rock Musical Hair (iUniverse, 2004) ISBN 0-595-31297-7
Miller, Scott. Let the Sun Shine In: The Genius of Hair (Heinemann, 2003) ISBN 0-325-00556-7
Wollman, Elizabeth Lara, The Theatre Will Rock: A History of the Rock Musical from Hair to Hedwig (University of Michigan Press, 2006) ISBN 0-472-11576-6
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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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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://moviemusicuk.us/2023/11/28/saltburn-anthony-willis/
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SALTBURN – Anthony Willis
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2023-11-28T00:00:00
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Original Review by Jonathan Broxton WARNING: THIS REVIEW CONTAINS PLOT SPOILERS. IF YOU HAVE NOT YET SEEN THE FILM, YOU MIGHT WANT TO CONSIDER WAITING UNTIL AFTER YOU HAVE DONE SO TO READ IT. Saltburn is an extraordinary, almost unclassifiable film. It’s the sophomore effort of the writer/director/producer/actress Emerald Fennell, who became the first British…
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en
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MOVIE MUSIC UK
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https://moviemusicuk.us/2023/11/28/saltburn-anthony-willis/
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Original Review by Jonathan Broxton
WARNING: THIS REVIEW CONTAINS PLOT SPOILERS. IF YOU HAVE NOT YET SEEN THE FILM, YOU MIGHT WANT TO CONSIDER WAITING UNTIL AFTER YOU HAVE DONE SO TO READ IT.
Saltburn is an extraordinary, almost unclassifiable film. It’s the sophomore effort of the writer/director/producer/actress Emerald Fennell, who became the first British woman to be nominated for a Best Director Oscar in 2020 for her debut film Promising Young Woman; readers may also know her as the showrunner of the thriller TV series Killing Eve, and for her performance as Camilla Parker-Bowles in The Crown. The film stars the brilliant Barry Keoghan as Oliver Quick, a young man who leaves his working class background and enters Oxford University, and immediately becomes infatuated by his handsome classmate Felix Catton (Jacob Elordi). Felix invites Oliver to spend the summer at his family’s country estate – the Saltburn of the title – where he soon ingratiates himself with Felix’s mother Lady Elspeth (Rosamund Pike), his father Lord James (Richard E. Grant), and his sister Venetia (Alison Oliver), but makes an enemy of Felix’s American cousin Farleigh (Archie Madekwe). However, as the summer progresses, the relationships between Oliver and the Cattons begin to change, resulting in some truly devastating turns of events.
Large parts of Saltburn feel like a love story; a passionate, yearning tale of a young man discovering his sexuality. Part of it is a brutal, sometimes hilarious, dissection of the British class system, and what happens when a young man from working-class Liverpool enters a world inhabited by the impossibly wealthy, hopelessly out of touch, aristocracy. It’s a film about wanting acceptance, craving friendship, the desperate need to be loved. It’s about excess and debauchery, and sex in all its forms. But then halfway through the film it makes a hard lurch in a different direction and becomes something much darker, much more sinister, with revelations and developments that leave you questioning everything you have seen. It’s an excellent, confident, visually striking film which is likely to be a major player at the upcoming Academy Awards.
The score for Saltburn is by the Los Angeles-based English composer Anthony Willis, who is also likely to be a major player at the upcoming Academy Awards. Willis was part of John Powell’s gang at 5 Cat Studios for many years – he worked on the scores for How to Train Your Dragon 2 and Solo, among many others – before breaking out with his score for Fennell’s first film Promising Young Woman, and receiving a BAFTA nomination for his troubles. He made a box office splash with his score for M3GAN earlier this year, and is now back in the awards mix for Saltburn. What I like about Willis is that he is a very intelligent composer; not that other composers aren’t, but in the course of just three mainstream movies he has shown a particular knack for writing scores that work on multiple levels – they are often superficially beautiful, and fit within the expectations of the genre, but they also subvert that genre at the same time with music that offers commentary on the film’s subtext. Saltburn is a score that works very much like that – let me explain what I mean.
At first glance, Saltburn appears to be one of those staid, upper-class English scores that have featured in films like this for decades. The ‘BBC period drama’ sound that was perfected by composers like George Fenton, Patrick Doyle, and Richard Robbins on the big screen, and by people like Geoffrey Burgon and Richard Rodney Bennett on the small. Brideshead Revisited, The Jewel in the Crown. You get the idea. Slow and elegant strings, pretty pianos, melodic ideas that go all the way back to the musical evocations of the English countryside written by Vaughan Williams, Elgar, and others. But what’s clever about Saltburn is that this sound is not reflective of the Catton family’s actual reality – instead, it’s the music of Oliver’s aspirations. It’s the music of what Oliver believes life at a stately home would be like – the genteel aristocratic fantasy, rather than the debauched, spoiled family that Oliver actually encounters. The way that Willis musically shows us the veneer of Saltburn, and then tears down those preconceptions as the film gets progressively darker, is outstanding, and is indicative of a composer who really understands how film music can work on multiple levels simultaneously.
Willis recorded the score with the London Contemporary Orchestra and Chorus, and it includes guest appearances from the organ at Temple Church. Thematically there are two central ideas that tie the score together – a theme for Oliver that Willis calls ‘Oliver’s Arpeggio,’ and a theme for Saltburn that Willis calls the ‘Saltburn Chant’. These two things represent the two key ideas of the film: who Oliver actually is, and who and what Oliver aspires to be. These two ideas are linked, and they often evolve and flow into each other as cues develop. These two main thematic ideas are then underpinned with another idea called the ‘Lust Throb,’ a recurring texture that is usually performed by a church organ or a Moog synthesizer, and which acts as a near-subliminal evocation of Oliver’s psyche – his lust for friendship, for acceptance, for sex, for money, for status, all of which are catalysts for his actions. In various interviews with trade presses, Willis explained “When it came to the lust I really liked the idea of some kind of visceral, subverted thing, something low that would give you that kind of throbbing feeling. We talked about the idea of how, after you’ve had a night out, somebody’s still partying and you can hear through the floorboards of the bedroom – the afterglow of a sort of synthy dance music or party music.”
The opening cue, “I Loved Him/Oliver Quick!” is a gorgeous piece for multi-layered strings and church organ that slowly emerges into an enormous homage to Handel’s 1727 coronation anthem ‘Zadok the Priest,’ which couldn’t be more redolent of the British aristocracy considering that it has been performed at the coronation of every monarch since George II, including Charles III’s earlier this year. This is the music that accompanies Oliver’s arrival at Oxford University, and acts as his introduction to this rich, opulent world of prestige and privilege.
“NFI’D” is the first introduction to Oliver’s theme, a slow, intimate, lonely-sounding piece for strings and piano, underpinned with a pulsating intensity of the Lust Throb. The subsequent “Felix Amica” is upbeat and engaging, with contemporary writing for strings and friendly-sounding electro-pop textures that seek to capture the initially happy college experience Oliver shares with Felix and his peers – possibly the first time Oliver has felt this kind of acceptance in his life. “Throwing Pebbles” then features intimate, emotional writing for strings, tender pianos, and warm horns which moves back and forth between fully developed versions of both Oliver’s theme and the Saltburn theme as Felix and Oliver cement their friendship through a sense of shared familial loss. The textures and harmonies here are gorgeous.
“Journey to Saltburn” features more of those slow and elegant strings backed by church organ, mostly based around the Saltburn theme, which slowly rise to a crescendo as Oliver arrives at Saltburn and is struck by the majesty of its architecture, and the opportunity being there offers him – again, Oliver’s aspirations coming to the fore. The subsequent “Felix’s Tour” is written mostly for piano and synth, and is magical and shimmery, as Felix gives Oliver the whirlwind tour of the house. This music captures the sense of wonderment and astonishment Oliver feels at being in these new surroundings, the elegance and the luxury, and is again based around fragments of the two main themes and the Lust Throb. “You’re So Real” underscores the first meeting between Oliver and Felix’s family, and features more slow and intimate writing for strings, but it also has a slight sense of uncomfortableness to it, mirroring how Oliver feels about being treated as a ‘working class curiosity’ by a family who may have never encountered one before.
“A Shared Bathroom/Inconsistent Stories” uses the sinister electronic pulses of the Lust Throb to underpin some anguished, eerie string phrases, as the first hints of Oliver’s increasingly unhealthy obsession with Felix begin to emerge via a late-night encounter in a bathtub; these eerie string phrases coalesce into the first statement of a more obvious Lust Theme, which is again harmonically linked to the music for Oliver, but is moving into much darker musical territory. “Venetia’s See-Through Night Dress” has a similar sound as the previous cue, seductive but sinister and filled with treachery; it underscores the uncomfortable ‘vampire sex’ scene between Oliver and Venetia in Saltburn’s gardens, and sees Willis moving around between the Saltburn Theme and the Lust Theme.
“Slightly Bad Form” places the Saltburn theme into a series of introspective piano lines backed by worried-sounding shimmering string textures, and this melts into “Accusations & Departures” which sees Willis presenting a bank of buzzing, nervous-sounding layered strings that come across as a targeted deconstruction of the more pastoral Saltburn sound that dominated much of the first part of the score, as the idyll of Oliver’s summer begins to turn into a nightmare. “The Summer Burned On” is a fascinating combination of hauntingly beautiful chords and similarly dangerous-sounding string dissonances, built around the ‘loneliness variation’ of Oliver’s theme, as Oliver starts to feel the Catton family pull away from him.
“Blood Run Cold” is anchored by a melancholy piano version of Oliver’s theme, full of bitterness and acrimony, underscoring a pivotal scene between Oliver and Venetia where she sees him for who he truly is for the first time; the music acts as a sort of lament for both of them, as Venetia realizes she has been taken in by Oliver’s schemes, and Oliver realizes that the idyll of his time at Saltburn is coming to an end. “The Maze” is then the emotional crux of the score, which begins with a low, brooding version of the Saltburn theme for cellos and basses, but then descends into anguished dissonance as Felix’s dead body is found in Saltburn’s maze and the family’s stoic façade begins to collapse. The huge, tragic, cascading string figures feel like screams of anguish – Willis’s music acts as the voice of rage and heartbreak that Felix’s parents are too ‘stiff upper lipped’ to convey themselves – while the beautiful choral statement of Oliver’s theme venerates Felix almost like a fallen angel, mirroring the costume party wings he was wearing when he died.
“Staff Exit” is a bittersweet duet for piano and harp backed by the Saltburn theme on an aching solo cello, as Oliver leaves the estate under a cloud of acrimony and death. “Almost None” underscores the film’s conclusive flash forward with a warm, inviting performance of Oliver’s theme for strings and pretty piano, and Oliver and Elspeth meet by ‘chance’ in a coffee shop and reminisce about the summer that Felix died – until the depth of Oliver’s scheming and deception is finally revealed. Here, the music becomes larger and more complex, and Willis returns to the aspirational, inviting, overtly-classical tone from the film’s opening. The music is built mostly around statements of and variations on Oliver’s theme, but several of the other ideas from the elsewhere in the score – the waterfall of strings from Felix’s death scene, the church organ, the Handel-esque brass chords – also reappear, backed by this wall of lavish orchestral finery. It’s a brilliant bit of revelatory magic as it is finally revealed that all the tragic things that happened at Saltburn all stemmed from Oliver’s lust, his jealousy, and his eventual depravity. The moment that Oliver rips a feeding tube out of Elspeth’s throat to kill her is almost celebratory; again, the whole thing is from Oliver’s twisted point of view, and what he sees as his personal triumph in finally getting the one thing he wanted: Saltburn itself. The conclusive “Felix’s Suite” a compilation of themes from the film played at their most majestic and orchestrally satisfying.
One curio is the “Spit Roast,” a piece of gritty dubstep that Willis wrote to be used as a source cue during Oliver’s birthday party sequence. Willis said that the conceptual idea behind the piece was that ‘someone’s random cousin from Bristol got a hold of the DJ set and started to play his new EP,’ so in a way it’s almost intentionally bad, but I actually sort of like it; it feels like a rejected Massive Attack track, which is perhaps unnecessarily harsh, but I think you get the idea. One other thing I also quickly want to mention is the song soundtrack, which was specifically curated by Emerald Fennell and consists of several judiciously chosen late-90s Britpop hits, many of which have direct thematic meaning to the scene in question. I especially like the use of “Rent” by the Pet Shop Boys in context, and the terrible karaoke version of “Low” by Flo Rida is brilliant, but I fear I will never experience Sophie Ellis Bextor’s disco classic “Murder On The Dancefloor” the same way again. There’s also a very funny throwaway line about Jarvis Cocker, Pulp, and the song “Common People” that made me laugh out loud, and again demonstrates Fennell’s musical literacy.
As I have said repeatedly, Saltburn is an excellent score that works on several intellectual levels. As a simple listening experience it’s very satisfying; Willis’s themes are pretty and appealing, and go through several pleasing variations, including some where they reach strong emotional highs. It has that engaging English costume drama sound that many enjoy, and fans of composers like George Fenton and others will appreciate it on that level. However, for me, what makes Saltburn so fulfilling is its context and its subtext; the way Willis uses the familiar ‘costume drama’ sound to mask the utter horror of what Oliver is doing, cloaking the sex and the death in pretty textures, as a superb piece of misdirection. It makes you root for Oliver, want him to succeed, feel the sense of awe and wonderment that he feels in this new environment, and then it rips it all out from under you in the most brilliant and devastating ways. This trio of scores – Promising Young Woman, M3GAN, and Saltburn – really illustrates what a special talent Anthony Willis is, and if the film itself becomes an awards season darling, his first Oscar nomination could be just around the corner.
Buy the Saltburn soundtrack from the Movie Music UK Store
Track Listing:
I Loved Him/Oliver Quick! (3:27)
NFI’D (1:38)
Felix Amica (2:35)
Throwing Pebbles (1:51)
Journey to Saltburn (1:19)
Felix’s Tour (1:37)
You’re So Real (1:02)
A Shared Bathroom/Inconsistent Stories (2:43)
Venetia’s See-Through Night Dress (1:51)
Slightly Bad Form (1:54)
Accusations & Departures (0:54)
The Summer Burned On (0:49)
Spit Roast (2:55)
Blood Run Cold (1:46)
The Maze (2:21)
Staff Exit (1:52)
Almost None (5:35)
Felix’s Suite (7:49)
Running Time: 43 minutes 58 seconds
Milan Records (2023)
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https://www.assayjournal.com/lynn-z-bloom-8203the-great-american-potluck-party-31.html
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Lynn Z. Bloom, "The Great American Potluck Party" (3.1)
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ASSAY: A JOURNAL OF NONFICTION STUDIES 3.1
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en
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ASSAY: A JOURNAL OF NONFICTION STUDIES
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https://www.assayjournal.com/lynn-z-bloom-8203the-great-american-potluck-party-31.html
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our year-long celebration of Best American Essays
A poet, a novelist, and an essayist walk into a bar. “What is this,” asks the bartender, “a joke?” I am only saying this to get “essayist” and “joke” into the same sentence in a serious way, because it’s about time that essayists were taken seriously outside of academic circles. This has been the mission of Best American Essays ever since the first volume appeared in 1986, edited by the then middle-aged, delightfully tweedy Bob Atwan [1]. His astute championship of the genre has moved the essay from its marginal status of “belletristic essay, a ‘lifeless’ form” (Atwan, in Essay Daily—henceforward ED—12/7/15) to a robust mainstream, many-faceted genre. BAE’s success, from stealth to smashing in 30 years, is reflected in the de facto acceptance of the annual volumes as what might be considered the industry standard (if indeed there were any agreed-upon standards). The twenty or so essays included in each volume have been augmented by an ever-expanding, ever more eclectic list of “Notable Essays,” from 66 [2] in 1986 to 513 in 2015. This essay explosion reflects, among other things, an ever-widening range of publishing opportunities, which in turn has been fed since 1990 by the rise of creative nonfiction and memoir as major components of MFA programs, right up there with poetry and fiction.
Thus December 2015 was a propitious time for the Essay Daily—Not Really So Daily, a “space for conversation about essays & essayists, contemporary and not,” to devote its blog posts to commentary on each volume of the BAE series,“the longest-running and highest-profile filter for essays that aspire to art in the last century,” explains editor Ander Monson (ED 11/29/15). Monson invited the contributors, “a mixture of previous Essay Daily contributors, emerging essayists we wanted to collaborate with for the first time, and essayists who heard about the project and decided to volunteer.” Each was to choose a different volume, and after that, says Managing Editor Will Slattery, “they were totally turned loose—we like to give our contributors as much free rein as possible, largely because we value the aesthetic diversity that results, and because it’s always a fun surprise to see what different directions people jump off in” (Slattery).
Atwan, gracious host, provided the big round table for this repast, covered with a snowy white cloth—a tabula rasa for the feast that follows. It is these meta-commentaries, the dishes that each contributor brought to the potluck, on which my analysis here—the meta-meta commentary, if you will—will focus. So the discussion begins with the inevitable “What is an essay?” (as evidenced by Atwan’s Prefaces) extended to “What is a BEST essay?” and “Who decides?” “What has contributed to BAE’s stature and endurance over thirty years?” follows, as various bloggers examine either the entire series, their chosen volume, or individual favorites, in work and in play. On the basis of these blog entries, written independently of each other, can any consensus be reached on the status/nature of the essay in 2016, as BAE celebrates thirty years? Depending on the tastes of this herd of cool cats, the answers can be Yes (essays are alive and robust) and No (but just what is an essay, anyway?). An exemplary model serves as the climactic dessert.
__________
What is an essay? Atwan’s thoughtful introduction to each volume—and who should know better than he who reads essays by the bushelful throughout the year—addresses the same question year after year, “What exactly was the literary production that this new series would showcase and celebrate?” he asks in 2015. In 1986 his answer was, “The modern American essay has adapted to a reading public’s imperious demand for information, while retaining the personal, fluid, and speculative manner that has long characterized the form,” ever since Montaigne named the genre four centuries earlier. He observes, “Thought and expression, substance and style: the essayist shuttles between these fuzzy boundaries, now settling down with ideas and exposition, now searching for eloquence and charm” (BAE 1986, ix-x). “Thirty years later,” he continues, “and I’m still asking myself that question” because “a solid, tight definition of the genre . . . continues to elude me. . . . With so many different types of essays being published year after year, it seems impossible to identify a few essential features that characterize the genre and encompass all its form.” Perhaps, he says, we should ask “not what essays are but what essayists do,” and do differently “from what the generally more respected writers in other genres do?” (BAE 2015, ix).
Nicole Wallack brings to the table boeuf bourguignon à la Montaigne, a superb complement to her graceful, comprehensive analysis of “Robert Atwan’s Art of the Foreword,” which addresses Atwan’s “audible presence . . . as a thinker and essayist in each volume.” She demonstrates that “Atwan has found a ‘durable’ and capacious art, practice, map for a key trajectory of American literature, and corrective to what he sees as the strictures of writing and thinking in school.” The beating heart of Atwan’s concerns lies in his repeated return “to four qualities we can find in all essays that have lasted beyond their moment of composition: 1) they explore original ideas about specific topics; 2) they include the vivid presence of the writer . . . 3) they incorporate moments of both self-awareness and skepticism primarily through reflection; and 4) they resist what Atwan calls “standardization” in content or form.” Yet essays are a process as well as a product. They offer writers the opportunity to enact “the ever-shifting processes of our minds and moods,” which form “the basis for the essay’s qualification to be regarded seriously as imaginative literature and the essayist’s claim to be taken seriously as a creative writer” (BAE 2012, xiv), an issue Ce̕sar Diaz’s “Composing Smart” (BAE 2010) also raises. Wallack concludes that “Atwan enacts in his forewords, and in his dedication to The Best American Essays as an extended cultural inquiry, the ethics of both making our minds visible, and being brave in all ways when we reach the limits of what we know” (ED--12/25/15).
Mike Steinberg, whose Pinot Noir pairs well with the boeuf, also addresses the “exciting diversity of essay forms,” these in the 1991 BAE, “reflections and meditation, philosophical fragments, personal narratives and anecdotes, cultural critiques and passionate arguments.” He notes with pleasure, this “prophecy of things to come. . . . read like a description of the current landscape of creative/literary nonfiction” (ED 12/20/15). John Proctor brings a youthful red to the table along with Louis Menand’s guest-edited BAE 2004 guiding his efforts to understand—as an essayist-in-progress—“what an essay is, or can be.” The essay, he observes, “like a city is a composite of millions of voices, personalities, perspectives, imaginations, and intellects. Every volume of The Best American Essays is like an annual report on the state of the city, or a report from a fellow traveler, much like Calvino’s fictionalized Marco Polo in Invisible Cities, whose words here can be applied to the city or the essay.” Paramount qualities include voice (“Writing essays is more like singing than speaking”), a sense of déjà vu (essayists “’are always thinking of the perfect riposte when the moment for saying it has already passed”), lists (“image, aphorism, and anecdote, when separated and listed, assume a new artistic depth”) and power: “Polemics can be fun!” (ED 12/4/15).
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Who decides what the BEST essays are? David Foster Wallace’s hilariously astute introduction to BAE 2007 makes the process of selection clear: “Unless you are both a shut-in and independently wealthy, there is no way you can sit there and read all the contents of all the 2006 issues of all the hundreds of U.S. periodicals that publish literary nonfiction” (Wallace’s preferred term). “So, you subcontract this job,” first to Houghton Mifflin, who in turn “subcontract[s] the job to someone they trust . . . not to be insane or capricious or overtly ‘biased’ in his Decidering,” namely series editor Bob Atwan. Atwan, who right from the get-go understood that “working with a distinguished guest editor each year would be immensely enjoyable and keep the perspective of each volume fresh” (ED 12/7/15), winnows this “very large field of possibilities” down to 100 finalists, “’essays of literary achievement that show an awareness of craft and forcefulness of thought’”—reasonable looking criteria, says Wallace, “while at the same time being vague and bland enough that we aren’t induced to stop and think about what they might actually mean.” Atwan then sub-sub contracts these to his choice of Guest Editor, the ultimate Decider, who “acting as an evaluative filter” selects the “twenty-odd so-called Best . . . for your delectation.” Although the Guest Editor is free to lobby for essays off the list, Atwan, says Wallace, appears so “fair and balanced,” his judgment formed over years “of hard experience on the front lines of Decidering,” that Wallace ends up pretty much getting away from already putting in his own choices and sticking with Atwan’s (BAE 2007xv-xvii).
Mary Clearman Blew’s megabowl of guacamole accompanies her sage meta-commentary on BAE 2007, which addresses, among other things, Wallace’s choice of “narrative essays,” one of which, “Shakers,” by short story writer Daniel Orozco, was originally published in Story Quarterly. Blew suspects this is really fiction. She speculates that this piece might have been Wallace’s addition to the volume, rather than on Atwan’s list, included because it breathtakingly limns “the resilience of the human spirit in awful circumstances” (ED 12/22/15). The ending is signaled by an earthquake that pelts an isolated injured hiker with stones and scree and—Orozco writes—“a cloud of desert dust.” As night falls, “when the cold is all he can think about,” a diamondback rattlesnake will
seek the warmth of his body against the chill evening, slicing through the sand and sweeping imperiously between his legs and turning into itself until coiled tight against his groin and draped along his belly with the offhand intimacy of a lover’s arm. . . . He will shake, resolute in a belief in the exaltation of this moment, yet careful not to disturb the lethal snake on his chest. How cool is this! he will think.” (BAE 2007, 168-9)
If true, this is clearly a zero-at-the-bone climax of a never-to-be-forgotten tale. But if it’s fiction, a potent possibility raised by this sensual scene, should Atwan have lowered the Decider’s boom?
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Atwan’s invigorating influence on the genre. Ned Stuckey-French’s contribution to the potluck, a classic American Century Festive Bird, gloriously glazed, uses BAE 1987 as the platform for Essay Daily’s most comprehensive historical discussion of the series and the genre, gracefully intertwined with a knockout personal essay that adds new dimensions to its BAE host. This ideal combination of creative and critical writing is hard to do (try it!) but delightful to read. Stuckey-French credits Atwan for both understanding and demonstrating that the personal essay is very much alive: “What died was only the old-fashioned familiar essay, that genteel and whimsical item—whose writers always sounded vaguely British—which used to be the staple of highbrow magazines and sleepy freshman English courses.” Atwan’s “steady, measured presence as editor and writer” understands the contemporary essay’s target audience to be, as it was in Montaigne’s time, petit bourgeois intellectuals, “urban and urbane,” who get the writer’s allusions, share his individualism, and even appreciate “the cross-pollination of nonfiction by fiction” evident in the 1987 New Journalistic picks by nostalgic (read outdated) guest editor Gay Talese, who can’t get his own “Frank Sinatra Has a Cold” out of his head (ED 12/11/15). We have met these readers and they are us.
And so we delight in Stuckey-French’s chocolate bombe at the end—yes, an extra dish!—a passionate personal reaction to one of the personal essays. John Barth’s “Teacher,” the story of a love affair intertwined with a love of teaching “spoke so directly to me. Elizabeth and I had met in 1986 at the 60th birthday party” of an English professor friend. “We’d fallen fast and hard, deciding a week later to get married. . . . The Barths’ whirlwind romance, our re-embrace of fiction—it all felt familiar.” Graduate school at Iowa led to Carl Klaus’s program “that focused exclusively on literary nonfiction. . . . It felt like we were riding a wave that was about to crest” (ED 12/11/15).
The crescendo of Ned’s (who could call him Stuckey-French after that?) essay spans the next thirty years, neatly summing up the essay’s status as championed by the BAE series:
Then Lopate’s anthology came out. The Atwan and Oates anthology came out. The John D’Agata anthologies came out. Fourth Genre, River Teeth, and Creative Nonfiction were launched. The Digital Revolution arrived, bringing Brevity and Assay with it. Where once Iowa was one of just a few graduate programs in nonfiction in the country; now there are almost 200. Robin Hemley introduced the NonfictioNOW conference. . . . Elizabeth and I have (almost) raised our two daughters, BAE is in its thirtieth year, and the wave doesn’t seem to have crested” (ED 12/11/15).
Although Sarah Minor (2015) frets: “what happened to the essay as a place where the capabilities of the essayist’s mind weigh more than the essayist’s life and how they can retell it?” (ED 12/1/15) Ned’s essay—smart and graceful—should set her mind at rest. Or, as Sven Birkerts observes in his “Ramble” around BAE 1986, “The essays of 1986”—he singles out Gerald Early, William H. Gass, David Barthelme, and Joyce Carol Oates—“are on a direct continuum with work by John Jeremiah Sullivan, Eula Biss, Leslie Jamison, Charles D’Ambrosio…. What the collection does affirm for me. . . .is that the form remains a species as adaptable as the cockroach, and that it flourishes exactly to the extent that thinking and invention flourish in any given time. A gathering like this not only legitimizes and disseminates our flights of imagining and reportage, but it also heartens and inspires” (ED 11/29/15).
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BAE’s ripple effect. Wallack credits BAE for “some of the essay’s current success in online and print journals; the exponential increase in courses and programs in creative nonfiction; a burgeoning interest in Essay Studies within departments of Literature and Composition; and, as Atwan notes (first with some reservations in 2007, then with many fewer in 2010), how could there be a blogosphere without writers creating as blog posts what Phillip Lopate has called elsewhere, “essays in disguise” (2010, xiv; ED 12/25/15)?
A kale salad (with cranberries, almonds, and goat cheese) accompanies my own research on “The Essay Canon” (published not by Essay Daily but seventeen years ago in College English (March 1999), an insanely labor-intensive project that traced the migration and republication of thousands of major canonical essays (by George Orwell, E.B. White, Joan Didion, Virginia Woolf, Martin Luther King Jr., and 167 others) in hundreds of American college textbooks from 1946-96. This disclosed another influence of BAE, significant but slightly secret, the trickle down effect of Atwan’s editorial “Decidering” on other essay collections. Before BAE, textbook editors used to raid each others’ books in search of lively, teachable nonfiction to incorporate into their own anthologies. Now BAE’s annual pools [3] of engaging essays refresh the supply and other editors dive right in, coming up with material for their own new editions that will keep these essays in annual circulation among America’s 4-5 million college freshmen.[4] For indeed, anthologies are—as a rule—the only places that, through reprints, give individual members of this genre a shot at longevity. In the process of trying to update an essay of his own that was a 1996 ‘Notable,” Eric LeMay tells how to forecast which essays will survive the “Tests of Time”: “Some of the anecdotes [in BAE 1996] were dated, but they still had the staying power that narrative creates. Fact dates, story survives” (ED 12/1/15).
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Other types of BAE blog commentaries. There’s ample room at this festive board for the sides and salads that accompany Wallack’s and Stuckey-French’s centerpiece contributions.
Overviews of the entire volume. I had originally anticipated that most of the individual BAE reviewers would provide hearty vegetable dishes for the meal—garlic mashed potatoes, onions baked with rosemary and cream, miso ginger asparagus—through an overview of their chosen volume, commenting on what they liked best and analyzing why, incorporated into a graceful personal essay. Kyoko Mori’s “Revisiting the Last Millennium: BAE 2000” does exactly that. She knows the volume intimately, having taught it at Harvard when it was first published. Rereading it fifteen years later she finds that the wide range of “essays chosen by these editors do not seem ‘dated’ because the problems the writers tackled haven’t gone away (in fact, most are with us in a more serious way)”—an observation relevant to most of the essays in most of the BAE volumes—they rock! “All nonfiction inhabits the continuum between the self and the world, the private and the public,” Mori observes, and the enduring topics include disappearing wilderness (Wendell Berry, Edward Hoagland, Terry Tempest Williams), disappearing culture (Mark Slouka on electronic noise, and William Gass, on disappearing hardcopy books), “elegies for lost parents” (Fred D’Aguiar and Cheryl Strayed), and “strong, even extreme stances on controversial public issues: Peter Singer’s ‘The Singer Solution to World Poverty’ and Andrew Sullivan’s ‘What’s So Bad About Hate?’” (ED 12/21/15). Ander Monson’s “On Finding The Best American Essays 1999 at the Bear Canyon Goodwill” provides a more impressionistic overview of essays, which he regards as “conversations,” “messages. We are speaking to one another . . . even if the one to whom we speak is no longer alive. We're not just publishing these essays into the void” (ED 12/2/8/15). Although Will Slattery dutifully lists the contents of BAE 1997, his passion is devoted to JoAnn Beard’s “The Fourth State of Matter,” “elegant and brutal in all the right ways” (ED 12/26/15).
__________
Reading the past through the lens of the present. Various commentators, bearing side dishes of rediscovered grains du jour—quinoa, kamut, farro, freekah, bulgur, wheat berries—evaluated their chosen volumes from a contemporary perspective. Some react with hindsight’s 20-20 clarity to sexism and to sexist style in their chosen volumes. Why couldn’t the essayists and anthologists have been more feminist (Jill Talbot 1993, Marcia Aldrich 2013), more gender sensitive (T Clutch Fleishmann 1992, Thomas Larson 1995); less stuffy and stately and more “new and daring,” as Thomas Mira y Lopez (2012) credits Mark Doty, Sandra Tsing Lo, and Jonathan Franzen in their depictions of new worlds (ED 12/18/15).
Reflections on the terrorist attacks of 9/11/01 dominated many of the essays in BAE 2002 and 2003, and thus—as days of infamy—were addressed as well by the BAE bloggers. Nicole Walker (2002) asks why did—or do—we turn to white men in times of national crisis? Renee E. D’Aoust reads 2003 Guest Editor Anne Fadiman’s choices of “hefty personal essays that make personal and worldly collisions strikingly clear” as relevant to subsequent international terrorism, particularly the November 2015 attacks on Paris, an affinity limned by the essays of Francine du Plessix Gray, Judith Thurman, and Myra Jehlen in that volume (ED 12/5/15); and by Christy Wampole’s entire 2014 commentary which unpacks essays by Mary Gordon and Dave Eggers. “Like Eggers’ American,” says Wampole, “we want to push a reset button that doesn’t exist. We want to unravel the stereotypes of ourselves, to emphasize our singularity in a system that tries to uniformize us. . . . We just want to be. We are jarred that global politics—about which we know almost nothing—might loot us of life and limb” (ED 11/30/15).
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Bloggers’ favorite authors. Distilling the essence of an anthology, any anthology, is really hard to do, especially in the compass of 2000-3000 words, and even tougher if the collection is composed of disparate essays, as BAE is. What I had initially regarded as authorial sloth—commenting on one or two or four favorite authors from the designated volume—may well be a survival mechanism for the authors of such expeditious blogs written under time pressure, the collection’s crunchy crudités—bell peppers, jicama, sugar snap peas. These are choices of passion, craft, and topic: Amy Leach on Charles Simich (1988); Joni Tevis (1990) and Craig Reinhold (1998), both on Annie Dillard; David L. Ulin (2011) on Susan Straight’s enactment of racial profiling in “Travels With My Ex.” Stephanie G’Schwind’s (2009) civil rights discussion centers on Gregory Orr’s complicated “Return to Haneyville,” which not only lays the ghost of his traumatic civil rights kidnapping in 1965 but is ultimately suffused with joy, “’Joy is my body’s primal response to the enormity of the gift it has been given—a whole life! A whole life was there waiting for me the day I left this town’” (ED 12/17/15).
__________
Free play. And why not? Because all the contributors to this feast are creative writers writing in this most latitudinarian genre, I was anticipating a great deal of experimentation and play. What I found, however, was lots of work, some of it impressive as we have seen, but only a few playful, free-ranging essays, the desserts of this celebratory meal.[5] Matthew Gavin Frank offers a perplexing rejoinder to BAE 2001, a Cool-Whip concoction “comprised of one line from each of the essays included . . . in order. The first sentence is from the first essay, the second from the second, and so on: “Prayer is personal [Ben Birnbaum]. Fuck the criminal codes [Charles Bowden]. Fanny recalled how they set out from Tahiti, where they had been living in contented isolation, and set their sails for Hawaii [James Campbell]. We get what we need [Anne Fadiman].” Frank calls this arbitrary sentence generator an “essay,” a big stretch even for this most capacious genre (ED 12/2/15).
In contrast, Michael Martone’s parfait of a commentary on BAE 2005 elegantly intertwines the evolution of the BAE series (tutti frutti) with the rise of creative nonfiction and programs that teach it (the vanilla) with an engaging reprise of the technology it’s written on (the mint chocolate chip), from the quaint (strawberry) to the contemporary (limoncello), ranging from “the Apple computer . . . invented in 1976,” to desktop publishing”: “Apple the company goes public this year [1980]. The share price is $22.00. . . . Steve Jobs is convinced . . . that a graphical user interface would be the design of all future computing. I am typing this now, in 2015, on a 2012 iMac running OS X 10.8.5 with graphics NVIDIA GeForce GT 640M S12 MB. The machine creates the illusion on the screen in front of me that I am mechanically typing this “this” on a white, eight and a half by eleven piece of paper” (ED 12/14/15).
Brian Doyle’s champagne essay on his first inclusion in BAE (1998) proclaims I AM A GOLDEN ESSAY GOD! “’Wow,’ his wife says, reading the table of contents, ‘Saul Bellow, Joseph Epstein, Ian Frazier, Edward Hoagland, Jamaica Kincaid, William Maxwell, John McPhee, Mary Oliver, Oliver Sacks, John Updike….Brian Doyle? Doesn’t that sound funny? Bellow, Updike, Doyle?’” Says Doyle, “That’s what I remember best, her absolute honest innocent question, and my instant urge to shout ‘NO THAT DOES NOT SOUND FUNNY! THAT SOUNDS TOTALLY COOL AND RIGHT AND AWESOME AND I AM A GOLDEN ESSAY GOD!’” Although Doyle suppresses his urge—his wife, he thinks, is right (ED 12/8/15). We’ll drink to that.
__________
Love in the time of the bitter and the sweet. I have saved the very best until last, the aspirational post that moves, inspires, informs through a combination of story and commentary, Michele Morano’s “Los Mejores Ensayos Americanos,” BAE 2008, a generous, glorious bittersweet chocolate cake of an essay topped with chocolate ganache and a pint of fresh raspberries. This compelling narrative intertwines tales of two cities, two lovers, and a five-month-old baby, Morano’s first, at 43. One lover, a troubled American visiting in Oviedo in 1993 (we previously met him in Morano’s “Grammar Lessons: The Subjunctive Mood” (BAE 2006—she’s a GOLDEN ESSAY GODDESS!), remains intermittently suicidal, a source of constant worry even fifteen years later, particularly after she discovers that his “phone has been disconnected. She fears the worst, as she always has.” Morano is teaching in a study abroad program Madrid in 2008 with the other lover, the baby’s father, also a writer, “the man who is solid and steady and never causes her to worry,” even when she rebels “against the schedule dictated by the baby’s needs, by his hunger, fatigue, desire for stimulation” (ED 12/13/15).
Through the exhausting highs and lows of this confluence of experiences, she clings, late at night, “to the lifeline of creative nonfiction, of the essay, of writers offering what Scott Russell Sanders calls ‘a record of the mind at work and play’”: Patricia Brieschke’s “Cracking Open” (about “the birth of her son . . . a scrawny baby with misshapen legs,” enduring excruciating “pain after each operation”); Atul Gawande’s “The Way We Age Now” (doctors paying thoughtful attention to the ordinary—examining factors involved in walking and swallowing for clues to survival), and Ander Monson’s “Solipsism” (“Me. Me. Me. Me. Me.” On and on, twenty-five columns across and twenty-three lines down”) (ED 12/13/15).
After watching Obama’s 2008 election on her computer’s twitter feed, “Look,” she tells the baby, tears streaming down her face. “Look at what has happened for you, my sweet boy,” Morano wraps it up: “Later she will think of these months in Madrid as very happy and, at the same time, very sad, a period when the future was daunting and, at the same time, filled with hope. In the face of all that contradiction, what else could she have done but continue to call that disconnected number, continue to rock and wipe and walk and dance [the baby], to wait and withstand, to take notes and to read, above all to read, as if every word on every page were a tiny yawp of prayer” (ED 12/13/15).
__________
Same time, next year. The sumptuous contributions of Wallack, Stuckey-French, and Morano complement the original banquet of BAE Prefaces by astute Bob Atwan and the complex of Guest Deciders. Enhanced by other essayists’ piquant offerings, this holiday meal is enough to feed everyone gathered at this most welcoming table in 2015. But we essay enthusiasts (OK, fanatics) whose hunger for the genre can never be satiated, will save the party hats and horns; in 2016, New Year’s Day—the publication date of the nouveau Best American Essays, will be October 4, promises Houghton Mifflin. Who will be in it? If not on the A-list, will any of us be among the also-rans? Over the past thirty years the Notables has become both a useful credential and a source of aw-shucks bragging rights, even if we only find out from reading the end of the volume, since—in the typically modest, casual way that essays are treated—Atwan sends no letter of commendation, no certificate. Not a Pulitzer, but still . . . . There are no artificial ingredients, and everything is made from scratch.
End Notes
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Gregg Karukas
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Grammy winning keyboardist/composer/producer. A prolific genre crossing veteran of Smooth Jazz, New Age, Brazilian and R&B pop with many #1 hits from 12 solo CD's that show his signature piano touch. Has toured with Boney James, Dave Koz, Larry Carlton, Dori Caymmi, Sergio Mendes, Ricardo Silve
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Gregg Karukas
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http://www.karukas.com
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New Gregg Karukas Shows just announced.
2024 Tour Dates…so far
June 6 - Atlanta, GA Suite Lounge
June 8 - Dallas, TX Bishop Arts Jazz Series - Co-bill with Mindi Abair
June 23 - Detroit, MI Royal Oak Music Festival - 3PM show FREE
June 28 - Topanga, CA Topanga Bistro GK Soul/Jazz Party GK on Hammond organ Tyler Hammond - drums, guitar TBA
July 13 - San Ramon, CA (Bay area) GK guests with Peter White
July 14 - Woodland, CA GK solo house concert The Blue Rose (Sacramento area) 6-8 pm
July 21 - Temecula, CA South Coast Winery - Allstar Show GK, Chris Standring and Patrick Lamb
Aug 8 - Laguna Beach, CA Festival of the Arts GK unplugged piano trio/solo- w/ Joel Taylor, Ian Martin
August 16- Pasadena, CA 1881 E. Washington Bl.-GK Soul/Jazz Party GK on Hammond organ w/ Joel Taylor and guitar TBA
Aug 23 - Paso Robles, CA Libretto GK piano trio/solo on the Steinway 9ft. concert grand- - w/ Joel Taylor, Ian Martin
East Coast: More dates TBA
October 3 - Annapolis, MD Ramshead on Stage
October 6 Rehoboth, DE TBA
October 9 - Richmond, VA Tin Pan - tentative
Nov 9 - Austin, TX Horseshoe Bay Resort All-Star Show with GK, Peter White, Chris Walker, Paul Brown, Michael Paulo
DONE:
March 22 - Topanga Canyon Bistro GK piano trio with Ken Wild and Kendall Kay on drums
***March 27-28 - North Hollywood, CA El Portal Theater "Flashes of Light" Musical concert
April 19 - Ventura, CA The Grape - GK full show w/ Woody Mankowski, Michael O'Neill, Darryl Williams and Joel Taylor
April 21 - Seal Beach, CA - SPAGHETTINI 6:30pm GK full show w/ Woody Mankowski, Michael O'Neill, Darryl Williams and Joel Taylor
April 26 - Pasadena, CA 1881 E. Washington Bl. - GK Soul/Jazz Party GK on Hammond organ with Joel Taylor and guitar TBA
2023 Tour dates
Dec 2 Albuquerque, NM African American Performing Arts Center
Dec 5 Beverly Hills, CA Vibrato GK with Ray Fuller
Dec 15 Topanga, CA Canyon Bistro Thom Rotella, GK (Hammond organ), Kendall Kay
-——————————————————-2024————————————————————
Jan 11-14 Seattle, WA Jazz Alley Gregg guests with Peter White and Vincent Ingala
Feb 1 Ventura, CA NAMBA Benefit featuring Gregg Karukas solo piano
Feb 17 Rancho Mirage, CA Grooves at the Westin Palm Desert Peter White, GK and Spencer Day
June 8 Dallas, TX Bishop Arts Jazz Series GK co-bill w/ Mindi Abair
Fall: East Coast Tour
——————————————————2023 Done———————————————————————-
Mar 4 Paso Robles, CA GK plays unplugged at Libretto on the Steinway 9ft. grand. With John Leftwich and Kevin Winard
Mar 24-26 GK guests with Peter White at: Solvang, Livermore, Saratoga, CA
April 16 Westlake Village, CA GK plays 5pm short organ set at Sherwood CC for Benefit Loving Home Hospice for Children
May 27-28 San Diego-Hammond Organ Summit at Jazz Lounge w/ Carey Frank and Doug Kvandval
June 9-10 Oakland, CA GK guests with Peter White at Yoshi's
June 16 Pasadena, CA 1881 Bar 1881 E. Washington Bl. GK Soul/Jazz Organ Party w/ Miles Jensen and Kevin Winard
June 24 Murietta, CA - Michael Paulo's Temecula Wine and Music Festival- Allstar Show GK w/ Paul Brown, Steve Oliver, Michael Paulo
June 29 Ventura, CA The Grape GK Soul/Jazz Organ Party w/ Miles Jensen and Kevin Winard
July 7 Pasadena, CA 1881 Bar 1881 E. Washington Bl. GK Soul/Jazz Organ Party w/ Joel Taylor and TBA
July 29 Laguna, CA Festival of the Arts; GK plays with Michael Paulo
Organ trio gigs:
Aug 3: Ventura, CA Bellringer Brewing Company w/ Davey Miller on drums 7-9pm
Aug 4: Canyon Bistro Topanga Canyon, CA w/ Tyler Hammond on drums and Thom Rotella on guitar 7-9pm
Aug 9: Ventura, CA Topa Topa Brewery w/ Davey Miller on drums 7-9pm
Aug 11: Pasadena, CA 1881 Bar 1881 E. Washington Bl. w/ Tyler Hammond on drums and Thom Rotella on guitar
Aug 17: Ventura, CA Bellringer Brewing Company w/ Davey Miller on drums 7-9pm
Aug 18: Topanga Canyon, CA Canyon Bistro w/ Tyler Hammond on drums and Thom Rotella on guitar 7-9pm
Aug 13: Temecula, CA South Coast Winery All-star show with GK, Adam Hawley and Pamela Williams, Michael Paulo
Aug 24 Laguna, CAFestival of the Arts; GK Soul/Jazz Party Organ Show 5:30-7pm
GK Shows on the East Coast w/ Brad Collins, Deren Blessman, Tom Tucciarone, Stan CooperSept 2 - Charlotte, NC Middle C Jazz Club (6:15 and 8:45 shows)Sept 6 - Richmond, VA Tin Pan Sept 7 - Annapolis, MD Ramshead OnStage- tix on sale NOW!Sept 8 - West Grove, PA Ponderosa Barn- GK Soul/Jazz Party w/ special guest Lucas Brown (guitar w/Joey DeFrancesco), Brad Collins, Deren Blessman
Sept 24 Ojai, CA Beatrice Wood Arts Center for the Arts 8585 Ojai-Santa Paula Rd.
Ojai, CA 93023 3PM rare solo performance on the Steinway grand.
October 21 Paso Robles, CA LibrettoGK Trio on the Steinway 9ft. concert grand!
Nov 24-25 GK in London at PIZZA EXPRESS- SOHO tix available soon
___________________________________2022_____________________________________________________
Dec 17 Ventura, CA The Grape 2-5pm GK on Hammond organ w/ Doug Webb and Joel Taylor
Dec 21 2022 Vibrato w/ Ray Fuller, Jeff Kashiwa, Melvin Davis, Dave Karasony
Dec 22 Ventura, CA The Twist on Main 5:30-8:30pm GK on Hammond organ w/Davey Miller and Andy Waddell
2023 Dates:
Jan 7 Norfolk, VA Attucks Theater GK Show w/ Adam Hawley
Jan 22 San Diego, CA Humphrey’s Backstage w/ Paul Brown and Michael Paulo
Feb 11 Kauai, HI Sonesta Resort w/ Peter White, GK and Michael Paulo
Feb 14 Honolulu, HI Ala Moana Hotel w/ Peter White, GK and Michael Paulo
Feb 17 San Diego, CA Pala Casino Gregg guests w/ Peter White
Feb 18 Palm Desert, CA The Westin w/ Peter White, GK and Michael Paulo
Feb 26 Seal Beach, CA Spaghettini GK Show w/ special guest Michael Paulo
March 4 Paso Robles, CA Libretto Gregg Karukas Unplugged trio and solo on the Steinway Concert Grand
2022 Dates:
Jan 20 - Ventura, CA GK Soul/Jazz Party at The Grape only LA area show, w/ Michael O'Neill, Joel Taylor and Keith McKelly 7-10:30PM
Feb 12 - Ala Moana Hotel, Oahu Peter White, GK and Michael Paulo
Feb 14 - Kona - Gertrude's Jazz Bar GK Soul/Jazz Party
March 12 - Palm Desert, CA Peter White and GK - Grooves Jazz at the Westin Outdoor show
April 2 - Reading, PA Berks Jazz Festival 2PM Ballroom show - GK Organ Soul/Jazz Party w/ the Berks Horns
April 28 - Ventura, CA GK Soul/Jazz Organ Party at The Grape only LA area show
May 4-8 Portugal Algarve Festival - GK show
May 12 - Ventura, CA The Twist on Main 6:30PM GK on piano w/ Davey Miller-drums, Santino Tafarella-upright bass no cover
June 16 - Ventura, CA The Twist on Main - Jazz Night with Davey Miller drums/vocals, GK on organ, guitar TBA
June 18 - Spaghettini - Gregg guests with Thom Rotella
June 25 - Temecula, CA Thornton Winery - Gregg guests with Peter White
July 14 - Laguna, CA Festival of the Arts - GK Soul/Jazz Organ Party with Thom Rotella, Keith McKelly, Tyler Hammond 5:30-7pm
July 16 - Ventura, CA GK Soul/Jazz Organ Party at The Grape with Thom Rotella, Keith McKelly, Tyler Hammond
July 24 - Temecula, CA 7PM South Coast Winery - GK with Jazmin Ghent, Darryl Williams
Aug 7 - Laguna, CA Festival of the Arts Gregg performs on grand piano; solo and with acoustic trio. 5:30-7pm
Aug 10 - Richmond. VA Tin Pan GK and Paul Brown-TOGETHER w/Brad Collins, Scott Ambush, Deren Blessman
Aug 11 Baltimore, MD Keystone Korner GK and Paul Brown-TOGETHER w/Brad Collins, Scott Ambush, Deren Blessman
Aug 12 Elmira, NY - https://www.elmirajazzfestival.com/ GK and Paul Brown-TOGETHER....w/Brad Collins, Scott Ambush, Deren Blessman
Aug 14 Boca Raton, FL - Funky Biscuit GK Show w/Brad Collins, Stan Cooper, Scott Ambush, Deren Blessman
New Soul/Jazz Brazilian Party shows w/ special guest Ricardo Silveira announced:
October 12- Blues Alley, Washington, DC,
October 14 - Rehoboth Jazz Fest. ,
October 28 - Spaghettini , Seal Beach, CA,
November 5 - The Grape Ventura, CA.
October 14 Milton, DE Rehoboth Jazz Fest. Sydney’s
October 16 Rehoboth Jazz Fest. Grand Jam
October 21 Charlotte, NC Middle C Jazz Club
October 28 Seal Beach, CA Spaghettini w/ special guest Ricardo Silveira
Oct 29 Ventura, CA The Grape w/ special guest Ricardo Silveira
November 19 Los Angeles, CA Private Event
Serenata - Gregg’s first solo piano CD - release Feb 2021
Great melodies; the essential quality that has defined Grammy winning keyboardist / composer / producer Gregg Karukas’ 12 solo CD's over a three decade career, with many #1 radio hits, both sophisticated and accessible. "Serenata", his first ever solo piano project, offers romantic impressions of classic songs from iconic Brazilian artists Milton Nascimento and Dori Caymmi as well as new and re-imagined Karukas originals. Coming out of a 4 year hiatus, following the loss of his wife Yvonne from brain cancer, Gregg found the challenges of both the Covid isolation and developing his solo piano voice to be the perfect catalyst for reclaiming beauty, hope and, most importantly, new original music.
A prolific, genre-crossing veteran of Smooth Jazz, Brazilian, New Age and R&B/Pop, Gregg looks back on his years touring with Brazilian artists Sergio Mendes, Dori Caymmi and Ricardo Silveira in the 1990's as some of his favorite musical experiences. Gregg won the Best New Age Album Grammy in 2013 for producing, composing, playing piano/keyboards, arranging and engineering the Echoes of Love CD, a collaboration with Omar Akram, and has also worked with pianist David Lanz, arranging and producing two successful crossover CDs. He was a founding member of The Rippingtons and since then has been in the company of the top acts in the Smooth Jazz, World and R&B pop genres, touring with Boney James, Peter White, Rick Braun, Dave Koz, Melissa Manchester, Larry Carlton, Sergio Mendes, Brenda Russell, Jeffrey Osborne and featured with various Allstar groups in recent years. He has had a diverse career in music with a long list of credits on CD’s and all media; Gregg arranged and played all keyboards on the theme songs to Disney's Ducktales and Chip and Dale's Rescue Rangers and is a veteran of lots of TV/Film music sessions, (Cheers, Stand and Deliver, Life Goes On, Mr. Wrong).
Gregg honed his multi-keyboard, synth programming, songwriting and album production skills in the studios and clubs of Washington, DC, paying dues thru the late -70's with Jazz/Fusion groups Tim Eyermann and East Coast Offering and Natural Bridge (along with bandmate and bass virtuoso Michael Manring). Moving to Los Angeles in 1982, Gregg's focus was not on developing a solo career, but with a goal to play as many different styles as possible. His first gig in LA was on his 12th day in town with singer/songwriter Shelby Flint (Angel on my Shoulder, Mercury), whose band included former Wings drummer Denny Seiwell and other top studio players. He soon found himself touring with Melissa Manchester, producing demos and collaborating with songwriters, working on TV/film music and contributing to over 100 CD's from all genres. By the mid-'80's he was playing his own, stylistically diverse, original songs at local gigs with top session players and leading the studio house band for It's Garry Shandling's Show on Showtime. One bandmate suggested he knew a small "new adult contemporary" label that was looking for artists. Gregg sent in his songs (1987's The Nightowl) and began a 3 decade solo career of chart topping melodies that has perfectly paralleled the growth of the Smooth Jazz genre.
Always in demand as a musical director and keyboardist, Gregg has received multiple Best Keyboardist nominations at the Oasis and National Smooth Jazz Awards. His best-known songs, "Elegant Nights (#1), "Rio Drive"(#1), "Girl in the Red Dress" (#4) "Nightshift" (#1), and Jessy J.'s #1 hit "Tropical Rain" showcase Gregg's funky, melodic compositional style familiar to his fans.
"People say my music sounds romantic and uplifting - and I look so happy on stage," he says. "It's totally true. For me, the best music comes out of an inner feeling of either intense happiness or sadness. I always try to stay faithful to that original inspiration, because that is where the true 'sound of emotion' comes from."
Gregg's contagious smile and positive attitude shows in his concerts, as he has emerged over the years as one of the genre's most dynamic and inspiring live performers since he first took the stage in 1987 with the original Rippingtons and toured through the years with superstars Boney James, Al Stewart, Sergio Mendes, and Larry Carlton.
Looking back, Gregg had no idea he would eventually be recording and playing on the world's biggest stages with many of his Brazilian musical heroes, including Montreux Jazz with Caymmi, and multiple shows at the Hollywood Bowl with Ivan Lins, Oscar Castro Neves, Antonio Carlos Jobim, Toots Thielemans, Mendes and Caymmi. “Serenata” brings this musical "love affair" full circle, a crossover treat from the heart, for the heart.
Trivia: Gregg's very first LP session was for naturalist/author Euell Gibbons, adding background Moog Synthesizer textures along with Tim Eyermann's echoing woodwinds for Gibbons' readings of the work of Henry David Thoreau, a collector's item that can occasionally be found on eBay.
Gregg grew up in Bowie, MD with world famous guitar maker Paul Reed Smith (PRS Guitars); same high school as Eva Cassidy, Kathie Lee Gifford, JC Chasez - N'Sync, Liz Meyer and JAN SCRUGGS The founder of the Vietnam Veterans Memorial .
More trivia: Gregg lost the tip of his right middle finger at age 12 and kept practicing piano with 4 fingers for the next 2 years until it healed enough to take the impact.
Contact: Al Evers: 510-893-4705 alevers@a-train.com
Radio/media promotion: Ed and Stacey Bonk: lazzpromotions@lazzpromotions.com 905-470-1230
Publicity: Holly Cooper - Mouthpiece Music (310) 993-4017 holly@mouthpiecemusic.com
Digital distribution: Bob Willard; bob@a-train.com
Physical distribution: Joseph@a-train.com
soul secrets - 2014
Gregg Karukas Short Bio
Grammy winning keyboardist/composer Gregg Karukas is enjoying the rare accomplishment of 2 consecutive #1 hit songs and THREE TOP 5 chart hits from his stellar 2014 CD release "Soul Secrets". His 2nd single, "Rio Drive" was named the #1 most played song of 2015 on Alan Kepler's Smooth Jazz Top 20! (#2 on Billboard's 2015 airplay chart). It follows "Elegant Nights" which hit the top of the charts in January of 2015. "Only You", the third single dedicated to Gregg's wife Yvonne, hit #2 on Smooth Jazz Top 20 in July 2016. Most recently, Gregg has taken his ever present smile and energetic, show around the world to Java Jazz in Jakarta, Manila, Jazztrax Catalina Jazz Festival and The Mallorca (Spain) Smooth jazz festival.
One of urban contemporary jazz's most versatile and acclaimed artists for over 25 years, Gregg won the Grammy for producing, composing, arranging, playing all keyboards and engineering Echoes of Love, which won Best New Age Album at the 55th Grammy Awards in February 2013. He was a founding member of The Rippingtons and since then has been in the company of the top acts in the Smooth Jazz and R&B pop genres, touring with Boney James, Peter White, Rick Braun, Dave Koz, Melissa Manchester, Larry Carlton, Sergio Mendes, Brenda Russell, Jeffrey Osborne and featured with various Allstar groups in recent years. He has had a diverse career in music with a long list of credits on CD’s and all media; Gregg arranged and played all keyboards on the theme songs to Disney's Ducktales and Chip and Dale's Rescue Rangers and is a veteran of lots of TV/Film music sessions, (Cheers, Stand and Deliver, Life Goes On, Mr. Wrong).
As a solo artist, Gregg's 11 all-original CDs have garnered consistently solid reviews for his signature piano touch, pristine production, and melodies that are both soulful and sophisticated. Always in demand as a musical director and keyboardist, Gregg has received multiple Best Keyboardist nominations at the Oasis and National Smooth Jazz Awards. His best-known songs, "Elegant Nights (#1), "Rio Drive"(#1), "Girl in the Red Dress" (#4) "Nightshift" (#1), and Jessy J.'s #1 hit "Tropical Rain" showcase Gregg's funky, melodic compositional style familiar to his fans.
"People say my music sounds romantic and uplifting - and I look so happy on stage," he says. "It's totally true. For me, the best music comes out of an inner feeling of either intense happiness or sadness. I always try to stay faithful to that original inspiration, because that is where the true 'sound of emotion' comes from." Gregg's contagious smile and positive attitude shows in his concerts, as he has emerged over the years as one of the genre's most dynamic and inspiring live performers since he first took the stage in 1987 with the original Rippingtons at the very first Jazztrax Catalina Jazz Festival. Since then, he has headlined the festival 4 times and played over 15 times with many other artists. Most recently, Gregg has taken his ever present smile and energetic, show around the world to Java Jazz in Jakarta, London, Dubai, Manila and The Mallorca (Spain) Smooth Jazz Festival.
Gregg Karukas
SOUL SECRETS
Nightowl Records
Street Date: Sept 30, 2014
Click to read Gregg’s selected TV/Film credits
FULL BIO - 2014
Grammy winning keyboardist/composer and Gregg Karukas is enjoying the rare accomplishment of 2 consecutive #1 hit songs from his stellar CD release "Soul Secrets". His 2nd single, "Rio Drive" was named the #1 most played song of 2015 on Alan Kepler's Smooth Jazz Top 20! (#2 on Billboard's 2015 airplay chart). It follows "Elegant Nights" which hit the top of the charts in January of 2015. "Only You", the third single dedicated to Gregg's wife Yvonne, hit #2 on Smooth Jazz Top 20 in July 2016. Most recently, Gregg has taken his ever present smile and energetic, show around the world to Java Jazz in Jakarta, Manila, Jazztrax Catalina Jazz Festival and The Mallorca (Spain) Smooth jazz festival.
Organic, funky, and melodic is how Gregg describes his latest, long awaited 12th solo project, Soul Secrets. Gregg's elegant grand piano and tasteful grooves are everywhere, and this time around he digs into his roots and also features the classic Fender Rhodes, Wurlie, Minimoog and Hammond B3 keyboards he grew up. With guest appearances by friends Rick Braun, Euge Groove, Ricardo Silveira, Eric Valentine, Nate Phillips, Michael O'Neill, James Harrah, Adam Hawley, violinist Charlie Bisharat, Luis Conte, Shelby Flint, Ron Boustead and 22 year old rising sax star Vincent Ingala, Soul Secrets reveals Karukas as an artist who has refined his sound to be instantly recognizable while constantly exploring a wide range of styles and grooves.
A prolific, genre-crossing veteran of Smooth Jazz, Brazilian, and R&B/Pop, Gregg won the Grammy in 2013 for producing, composing, playing all keyboards, arranging....and engineering the Echoes of Love CD, a collaboration with Omar Akram, which won Best New Age Album. Since his 2009 release "GK", Gregg has also been busy touring with guitarist Peter White and serving as musical director for the annual Dave Koz and Friends at Sea Smooth Jazz Cruises 2011-2013. After traveling the world with Koz and supporting all the artists onboard, Gregg made a deliberate career move in 2014 to focus more on his solo projects and finally found time to bring 14 new songs to life.
With the recent Grammy award and several #1 hit songs to his credit, Karukas has more than fulfilled his childhood dreams; having spent his early years close to the jukebox in his father's roadside tavern in Bowie, MD absorbing the hits of the sixties - from The Beatles to Motown. "I was inspired by the idea that you could touch people's emotions with melodic songs and lyrics that meant something." as Gregg puts it, "My favorite musical term is "Composer". Coming up, my role models were the great composer/keyboardists: Herbie Hancock, Stevie Wonder, Chick Corea, Carole King, Leon Russell, Joni Mitchell, Joe Zawinul, and the recently departed George Duke."
Gregg's 11 solo CDs have garnered consistently solid airplay and reviews; and his musical versatility, easygoing nature and professional work ethic is what has kept him in demand as a musical director and keyboardist in the company of the top acts in the Smooth Jazz and R&B pop genres for decades, touring with Boney James, Peter White, Rick Braun, Dave Koz, Melissa Manchester, Larry Carlton, Sergio Mendes, Brenda Russell, Jeffrey Osborne and featured with various Allstar groups in recent years. He has received multiple Best Keyboardist nominations at the Oasis and National Smooth Jazz Awards and his best-known radio hits, "Girl in the Red Dress" (#4) "Nightshift" (#1), and Jessy J.'s #1 hit "Tropical Rain" showcase Gregg's funky, melodic compositional style familiar to his fans.
......."Gregg Karukas’ music is the epitome of class and elegance…he’s got such a nuanced touch on the piano, and his compositions are always so satisfying. Add in a great ability to communicate live, and you have an all-around great talent." Dave Koz---
"People say my music sounds romantic and uplifting - and I look so happy on stage," Gregg says. "It's totally true. For me, the best music comes out of an inner feeling of either intense happiness or sadness. I always try to stay faithful to that original inspiration, because that is where the true 'sound of emotion' comes from."
As a key player in the emergent LA Smooth Jazz scene, Gregg's late '80's bands and CD's included young undiscovered sax talents Dave Koz, Gary Meek and yes, Boney James, before his breakout Warner Brothers deal. His first major LA sessions were playing synthesizers and bass lines for Rockwell's Motown Gold Album "Somebody's Watching Me", then arranging and playing the theme songs to Disney's Ducktales and Chip and Dale's Rescue Rangers. While doing lots of TV/Film music sessions, (Cheers, Stand and Deliver, Life Goes On, Mr. Wrong) Gregg kept developing his own original contemporary jazz catalog on the LA club scene and The Gregg Karukas Group became the house band for It's Garry Shandling's Show on Showtime.
In 1986, Gregg hooked up with Russ Freeman and founded the Rippingtons. When Russ needed a signature, expressive EWI (wind synthesizer) sound for the genre defining Moonlighting CD, Gregg suggested Dave Koz and the rest is Smooth Jazz history. When Dave began his own Dave Koz and Friends at Sea Cruise in 2011, he asked Gregg to be Musical Director and together they established what has become one of the ultimate "destination concert" events.
Gregg honed his multi-keyboard, synth programming, songwriting and album production skills in the studios and clubs of Washington, DC, paying dues thru the late -70's with Jazz/Fusion groups Tim Eyermann and East Coast Offering and Natural Bridge. His solo career began in LA with the Nightowl CD in 1987 and thru 11 CDs he has stayed true to his "no covers" policy. Gregg's uplifting attitude shows in his concerts, as he has emerged over the years as one of the genre's most dynamic and inspiring live performers since he took the stage in 1987 with the original Rippingtons at the very first Jazztrax Catalina Jazz Festival. Since then, he has headlined the festival 4 times and played over 15 times with many other artists. Most recently, Gregg has taken his ever present smile and energetic, show around the world to Java Jazz in Jakarta, Manila and The Mallorca (Spain) Smooth jazz festival.
Trivia: Gregg's very first LP session was for naturalist/author Euell Gibbons, adding background Moog Synthesizer textures along with Tim Eyermann's echoing woodwinds for Gibbons' readings of the work of Henry David Thoreau, a collector's item that can occasionally be found on eBay.
More trivia: Gregg lost the tip of his right middle finger at age 12 and kept practicing piano with 4 fingers for the next 2 years until it healed enough to take the impact.
Triviana: The only time the music of the Jazzmasters & Paul Hardcastle was performed live was a short US tour in 2009 featuring Gregg as keyboardist and Musical Director and Brits - Shilts and Chris Standring. Paul Hardcastle, who has never performed live, was not involved.
Contact: Al Evers: 510-893-4705 alevers@a-train.com
Radio Promotion: Bud Harner 818-788-9577 bud@chapmanmanagement.com
Click to read Gregg’s selected TV/Film credits
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Adapting the iconic story of Back to the Future The Musical for the stage are the movie’s creators Bob Gale (Back to the Future trilogy) and Robert Zemeckis (Forrest Gump). Playing now at the Adelphi Theatre in London.
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Back to the Future: The Musical
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https://www.backtothefuturemusical.com/london/cast-creative/
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Cory is a native upstate New Yorker now living in London, dividing his work between the US and the UK.
Training: Drama Studio London.
Theatre includes: Maybe, Probably (Old Red Lion), Indecent (Menier Chocolate Factory), Rob in Sleepless the Musical (Encore Theatre Productions), Fester in The Addams Family, Oscar Shapiro in Curtains (Wyndham’s), Rusty Charlie in Guys & Dolls (Royal Albert Hall), Igor in Young Frankenstein (Garrick), Boolie in Driving Miss Daisy (York Theatre Royal), Gangster 1 in Kiss Me, Kate (Kilworth House), Head Waiter in She Loves Me (Menier Chocolate Factory), Caliban in The Tempest (Bedouin Shakespeare Company), Max Bialystock in The Producers (UK tour), Old Man Strong/Hot Blades Harry in Urinetown (West End/St James), Robert in Dream of Perfect Sleep (Finborough Theatre), Amos in Chicago (Broadway), Igor in Young Frankenstein (Broadway/US tour), Max Bialystock in The Producers (Theatre Royal Drury Lane/UK tour – Manchester Evening Standard Award for Best Performance in a Visiting Production), Benny Southstreet in Guys & Dolls (Donmar Warehouse/Piccadilly), Mary Sunshine/Amos in Chicago (Adelphi), Dromio in The Comedy of Errors (Oxford Shakespeare Company), God/James the Lesser in Corpus Christi (Edinburgh Festival), Beaky in Our Father (Pentameters Theatre), Protean/Hero in A Funny Thing Happened on the Way to the Forum (Broadway), Barnaby in Hello, Dolly! (Broadway), Bubba in Damn Yankees (Broadway), Brandy Bottle Bates in Guys & Dolls (Broadway), ensemble in Jerome Robbins’ Pappa Piece (Lincoln Center) and Flagstaff in Gypsy (Broadway).
Film includes: Our man From Jersey, Stardog and Turbocat, Cats, The Conjuring 2, Empire II and Mountanaire.
Television includes: Delia, Hilda, Mysti, Oz, appearances in David Letterman’s and Rosie O’Donnell’s shows.
Bob Gale is an Oscar®-nominated Screenwriter-Producer-Director, best known as co-creator, co-writer and co-producer of Back to the Future and its sequels. Gale was born and raised in St Louis, Missouri, and graduated Phi Beta Kappa with a BA in Cinema from the University of Southern California in 1973, where he met and began his association with his longtime collaborator, Robert Zemeckis.
Gale has written or co-written over 30 screenplays and his other film credits include 1941, I Wanna Hold Your Hand, Used Cars, Trespass and Interstate 60, the last of which he also directed. In addition to his film and television work, and being the ‘Gatekeeper’ for the BTTF franchise, Gale has written comic books including Spider-Man, Batman and IDW’s Back to the Future title, thus proving to his father that he did not waste hours and hours reading comics in his youth. He has given talks on screenwriting in colleges across the USA, and enjoys meeting fans at comic conventions and Back to the Future events. He has also served as an expert witness in over 25 plagiarism lawsuits, even though this has occasionally required him to wear a suit and tie. When he’s not in production, writing, or wasting time on the internet, he actually does take out the trash, even when his wife doesn’t ask (well, sometimes he does). Gale lives in California with his wife and dog. Back to the Future the Musical is his first foray into writing for the stage.
ROBERT ZEMECKIS won an Academy Award©, a Golden Globe and a Director’s Guild of American Award for Best Director for the hugely successful and popular Forrest Gump. The film’s numerous honors also included a Best Picture Oscar and for Tom Hanks, a Best Actor Oscar.
Early in his career, he co-wrote with Bob Gale and directed Back to the Future, which was the top-grossing release of 1985, and for which Zemeckis shared Oscar and Golden Globe nominations for Best Original Screenplay. He then went on to helm Back to the Future, Part II and Part III, completing one of the most successful film franchises in Motion Picture history.
Zemeckis has continued to bring an impressive number of popular films to the screen including the comedies Used Cars and I Wanna Hold Your Hand, the romantic adventure Romancing The Stone starring Michael Douglas and Kathleen Turner and the macabre comedy hit Death Becomes Her starring Meryl Streep, Goldie Hawn and Bruce Willis.
He also directed Who Framed Roger Rabbit, cleverly blending live action and animation in a feature film, resulting in a worldwide box office smash.
Zemeckis re-teamed with Hanks directing and producing the contemporary drama Cast Away which opened to critical and audience acclaim.
He directed and produced Contact, starring Jodie Foster, based on the best-selling novel by Carl Sagan. He also co-wrote and directed the motion capture film The Polar Express, starring Tom Hanks as a charming train conductor taking children on a magical adventure to the North Pole.
Zemeckis produced and directed his second motion capture film, Beowulf which starred Anthony Hopkins and Angelina Jolie, based on one of the oldest surviving pieces of Anglo-Saxon literature, written before the 10th Century A.D. He released another advanced motion-capture film: A Christmas Carol, based on the celebrated and beloved classic story by Charles Dickens which he both wrote and directed for The Disney Studios.
Zemeckis returned to live action direction with the critically-acclaimed dramatic feature film Flight, for Paramount Pictures starring Denzel Washington. Under the direction of Zemeckis, Washington received an Academy Award nomination for the role.
For The Walk, he directed Joseph Gordon-Levitt and Ben Kingsley in the story of French high-wire artist Philippe Petit’s 1974 attempt to cross the Twin Towers of the World Trade Center.
He then directed the romantic thriller Allied starring Brad Pitt and Marion Cotillard, telling the compelling story of the relationship between a Canadian Intelligence Officer and a French Resistance Fighter against the backdrop of WWII in North Africa in 1942.
Along with Caroline Thompson Zemeckis wrote the screenplay for Welcome to Marwen, which he directed for Universal Pictures. The film starred Steve Carell as artist Mark Hogancamp who created a miniature WWII-era village as a way to recover from a violent assault. He then directed The Witches for Warner Bros. Studios.
Zemeckis produced such films as The Frighteners, Monster House, Last Holiday, and as a producer brought the true life story of The Prize Winner of Defiance, Ohio starring Julianne Moore and Woody Harrelson to the big screen.
Along with Bob Gale, Zemeckis co-wrote Trespass. He and Gale previously wrote 1941, which began a long-time association with Steven Spielberg.
For his present directorial effort, Zemeckis has completed Pinocchio which he co-wrote for the Disney Studios. The film is currently on Disney+
In 1998 Zemeckis, Steve Starkey and Jack Rapke partnered to form the ImageMovers, a production company dedicated to telling character-driven stories across many genres for film and television incorporating into their both cutting-edge and innovative digital technology
For the small screen, his television directing credits include episodes of Spielberg’s Amazing Stores and HBO’s Tales From the Crypt. He serves as Executive Producer on Medal of Honor, for Netflix and also Executive Produces on Blue Book for the History Channel and Executive Produces on Manifest for NBC and Warner Bros. Studios.
In March 2001, the USC School of Cinema-Television celebrated the opening of the Robert Zemeckis Center for Digital Arts. This state-of-the-art center is the country’s first and only fully digital training center and houses the latest in non-linear production and post-production equipment as well as stages, a 50-seat screening room and USC student-run television station, Trojan Vision.
Presently Zemeckis is on location in England filming Here for Miramax and Sony Pictures Studios. The film will have a Fall 2023 release.
In his ongoing, decades-long career as a composer, Alan Silvestri has blazed an innovative trail with his exciting and melodic scores, winning the applause of Hollywood and movie audiences the world over. With a credit list of over 100 films, Silvestri has composed some of the most recognisable and beloved themes in movie history. His efforts have been recognised with two Oscar® nominations, two Golden Globe nominations, four Grammy® awards, two Emmy® awards, and numerous International Film Music Critics Awards, Saturn Awards, and Hollywood Music In Media Awards.
Born in New York City and raised in Teaneck, New Jersey, Silvestri first dreamed of becoming a jazz guitar player. After attending the Berklee School of Music in Boston, he hit the road as a performer and arranger. Landing in Hollywood at the age of 22, he found himself successfully composing the music for 1972’s The Doberman Gang which established his place in the world of film composing. The 1970s witnessed the rise of energetic synth-pop scores, establishing Silvestri as the action rhythmatist for TV’s highway patrol hit CHiPs. This action-driven score caught the ear of a young filmmaker named Robert Zemeckis, whose 1984 hit film, Romancing the Stone, was the perfect first date for the composer and director. Its success became the basis of a decades- long relationship that continues to this day. Their numerous collaborations have taken them through fascinating landscapes and stylistic variations, from the Back to the Future trilogy to Toontown in Who Framed Roger Rabbit?, the tension of What Lies Beneath and Death Becomes Her, to the cosmic wonder of Contact; the emotional isolation of Castaway, to the magic of The Polar Express, to Zemeckis’ 1994 Best Picture winner, Forrest Gump, for which Silvestri’s gift for melodically beautiful themes earned him an Oscar and Golden Globe nomination. This 38-year, 21-film collaboration includes such recent films as Flight, Allied and The Witches based on Roald Dahl’s 1973 classic book. Zemeckis and Silvestri are currently working on Walt Disney’s Pinocchio starring Tom Hanks, which is scheduled for release in September of 2022.
Though the Zemeckis/Silvestri collaboration is legendary, Silvestri has scored films of every imaginable style and genre. His energy has brought excitement and emotion to the hard-hitting orchestral scores for Steven Spielberg’s Ready Player One, James Cameron’s The Abyss as well as Predator 1 and 2 and The Mummy Returns. Alan’s diversity is on full display in family entertainment films such as The Father of the Bride 1 and 2, The Parent Trap, Stuart Little 1 and 2, Disney’s Lilo and Stitch, The Croods as well as Night at the Museum 1, 2 and 3 while his passion for melody fuels the romantic emotion of films like The Bodyguard and What Women Want.
In 2018-19 Alan composed the music for Marvel’s Avengers: Infinity War and Avengers: Endgame. These films are the culmination of a partnership with Marvel that began in 2011 with his dynamically heroic score for Captain America: The First Avenger followed by The Avengers in 2012. Alan’s collaboration with Marvel helped propel The Avengers: Infinity Saga to spectacular worldwide success.
Silvestri’s success has also crossed into the world of song writing. His partnership with six-time Grammy Award-winner Glen Ballard has produced hits such as the Grammy-winning and Oscar- nominated song ‘Believe’ (Josh Groban) for The Polar Express, ‘Butterfly Fly Away’ (Miley Cyrus) for Hannah Montana The Movie, ‘God Bless Us Everyone’ (Andrea Bocelli) for A Christmas Carol and ‘A Hero Comes Home’ (Idina Menzel) for Beowulf. In addition to Back to the Future the Musical, Alan and Glen continue their long collaboration with new songs for the upcoming Robert Zemeckis production Pinocchio for Disney, scheduled for release in September 2022.
Six-time Grammy Award®-winner Glen Ballard is one of popular music’s most accomplished producers and songwriters, whose records have sold more than 150 million copies worldwide. In 2023 Ballard was selected to be inducted into the Songwriters Hall of Fame. Through his Los Angeles-based production company, Augury, Ballard is developing a diverse slate of projects in which music plays a central role. Ballard’s most recent project is Netflix’s The Eddy: a music-driven multicultural drama about a jazz band trying to survive in chaotic modern-day Paris, which debuted in May 2020. Ballard wrote and composed original songs and music for the limited series and served as an executive producer, alongside Damien Chazelle, Jack Thorne, and Alan Poul. Augury is a producer of the stage adaptation of 1985’s Back to the Future having worked on the project’s development for more than 14 years
Ballard wrote original lyrics and music for Ghost the Musical, which debuted in 2011 and has since been touring worldwide. Ballard is writing songs for the stage version of the 1979 movie The Rose, to be produced by Gail Berman, Michael Gorfaine and Sam Schwartz in association with Augury. Ballard produced and co-wrote Alanis Morissette’s Jagged Little Pill (33 million worldwide, four Grammys, and named Best Album of the Decade by Billboard magazine), and in 2019 a musical called Jagged Little Pill featuring all of the songs from the album debuted on Broadway. Directed by Diane Paulus with a book by Diablo Cody, the musical Jagged Little Pill was nominated for 15 Tony Awards in 2020.
Ballard has written and produced songs for Quincy Jones, Aretha Franklin, Barbra Streisand, Dave Matthews, Shakira, Katy Perry, Idina Menzel, George Benson, Ringo Starr, George Strait, Wilson Phillips, Van Halen, Chaka Khan, Patti Austin, Al Jarreau, Andrea Bocelli and many others.
His production credits include producing and arranging records for Annie Lennox, No Doubt and POD. Ballard co-wrote and arranged ‘Man in the Mirror’ for Michael Jackson and co-wrote and produced the Grammy winning and Oscar-nominated song ‘Believe’ (Josh Groban) for the feature film The Polar Express. His work in film includes writing original songs for Charlotte’s Web, Beowulf, The Croods, The Mummy’s Return, and Disney’s live-action Pinocchio.
Olivier Award winning producer Colin Ingram has worked in the theatre industry for 28 years with some of the world’s leading producers, directors, designers and writers. He currently produces three shows on the West End: Back to the Future the Musical at the Adelphi Theatre and Grease at the Dominion Theatre and will open Time Traveller’s Wife – The Musical this October at the Apollo Theatre. Back to the Future opened at the Winter Garden Theatre on Broadway this June.
It won Best New Musical at the Olivier Awards (after seven nominations), What’sOnStage Award and Broadwayworld.com and the London Lifestyle Award for Best Theatre Show. Colin also produced Ghost the Musical, which has been staged in 22 countries in 14 languages in over 30 productions, including West End and Broadway. It was nominated for five Olivier Awards and three Tony® Awards and won Best Musical at the Manchester Theatre Awards.
He was Executive Producer of the multi Tony and Olivier-Award winning Billy Elliot the Musical in the West End and consulted on the Broadway and Australian productions.
He also lead-produced Breakfast at Tiffany’s on Broadway and twice in the West End, and on the UK tour with these productions starring Emilia Clarke, Anna Friel and Pixie Lott. It won a Broadway.com award for Best Play.
Prior to becoming an independent producer, Colin worked for Cameron Mackintosh for six years, general-managing Les Misérables, The Phantom of the Opera, Oklahoma! (starring Hugh Jackman), The Witches of Eastwick and the Les Misérables 10th anniversary concert at the Royal Albert Hall. He then joined Disney Theatrical Productions to be UK Managing Director overseeing the London office and the productions of The Lion King, Beauty and the Beast and other shows in development. Colin then joined the Old Vic as Executive Producer and produced Hamlet starring Ben Whishaw, Aladdin starring Ian McKellen, and Richard II, The Philadelphia Story and National Anthems.
He then produced the Billy Joel/Twyla Tharp musical Movin’ Out in the West End, and co-produced Gone with the Wind directed by Trevor Nunn.
In 2016, Colin joined Madison Square Garden Entertainment as Executive Vice President of Productions. At Radio City, he produced the New York Spectacular starring the Radio City Rockettes – a major undertaking involving over 350 cast, crew and musicians – and produced the 2016 Christmas Spectacular starring the Radio City Rockettes, achieving the highest revenue in its 85-year history. Colin was a non Executive Director of the Royal Edinburgh Military Tattoo and is the proud founder of the Edinburgh University Footlights now in its 34th year.
coliningramltd.com
John Rando directed the world premiere of Back to the Future the Musical in 2020 at Manchester Opera House. His production transferred to the Adelphi Theatre in 2021, winning the 2022 Olivier Award for Best Musical. In the summer of 2023, he opened his production of Back to the Future on Broadway and it continues to delight audiences there. In the summer of 2024, John directed the first US tour of Back to the Future, now delighting audiences across the US. In 2001, Mr Rando won the Best Director Tony Award® and Outer Critics Circle Award for Urinetown the Musical.
Other Broadway credits include: Mr Saturday Night (Tony nomination for Best Musical), On the Town (Tony nomination for Direction), A Christmas Story (Tony nomination for Best Musical), The Wedding Singer (Tony nomination for Best Musical), Penn & Teller, A Thousand Clowns, Getting the Band Back Together, The Dance of The Vampires and Neil Simon’s The Dinner Party. For New York City Center Encores! he directed The New Yorkers, High Button Shoes, It’s a Bird, It’s a Plane, It’s Superman, Annie Get Your Gun, Gentlemen Prefer Blondes, Damn Yankees, Face the Music, Of Thee I Sing, The Pajama Game, Do Re Mi and Strike Up the Band. At the New York Philharmonic, his highly praised concert production of Carousel was also filmed for Lincoln Center Live. Mr Rando’s longtime collaboration with the playwright David Ives includes directing the Off-Broadway productions The Heir Apparent (SDCF Callaway Award for Directing), All in the Timing (Obie Award for Directing), Lives of The Saints, Polish Joke, Mere Mortals and Ancient History/English Made Simple.
Other Off-Broadway productions include: Jerry Springer the Opera (The New Group), Rosencrantz and Guildenstern Are Dead and The Comedy of Errors, among many others.
John’s work can also be seen in China with three original Chinese musicals: Jay Chou’s The Secret, The Spirit of Life – The Jonathan Lee Musical and Huang Bo’s The Island.
Casting: David Grindrod CDG for Grindrod Burton Casting:
Theatre credits include: Back to the Future The Musical, Grease, Elf, Time Traveller’s Wife, Into the Woods, Waitress, Only Fools & Horses, Magic Mike Live, Matilda, 42nd Street, Bat Out of Hell, 5 Guys Named Moe, Ghost, Our House (West End); Mamma Mia! (Worldwide); Mamma Mia! The Party; Sweet Charity (Donmar); Groundhog Day, Jekyll & Hyde (Old Vic); Sinatra, Bhangra Nation (Birmingham Rep); Chicago, Shrek, Grease, Priscilla Queen of the Desert, Mrs Henderson Presents, Fat Friends, The Commitments (UK Tour); Man of La Mancha, Chess, Carousel, Sunset Boulevard, Sweeney Todd, On the Town, Kismet (English National Opera); Evita, Jesus Christ Superstar, Hello Dolly, Crazy for You (Regent’s Park Open Air Theatre); My Fair Lady, Oklahoma, Kiss Me Kate, West Side Story, On the Town (BBC Proms/John Wilson); Guys & Dolls, My Fair Lady, A Chorus Line, Ain’t Misbehavin’, Oliver, Sweet Charity (Crucible Theatre, Sheffield); My Fair Lady, Candide, 42nd Street, Singing in the Rain. Kiss Me Kate (Chatelet, Paris); The Beggars Opera (Theatre des Bouffes du Nord, Paris); Guys and Dolls (Theatre Marigny, Paris); A Funny Thing Happened On The Way To The Forum, Hello Dolly (Theatre de Lido, Paris).
For Andrew Lloyd Webber: The Likes of Us, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, By Jeeves, Evita, Tell Me on a Sunday, Cats, Starlight Express, The Phantom of the Opera, Aspects of Love, Sunset Boulevard, Whistle Down the Wind, The Beautiful Game, Bombay Dreams, The Woman in White, The Sound of Music, Love Never Dies, The Wizard of Oz, Stephen Ward, School of Rock, Unmasked, Cinderella.
Film credits include: Musical Ensemble Casting: Matilda, Greatest Days, Mamma Mia! Here we Go Again, Beauty & The Beast, Aladdin, Mamma Mia!, UK Dancer Casting: Mary Poppins Returns, Nine; Casting Director: The Phantom of the Opera.
Television credits include: Rodgers & Hammerstein 80th Anniversary Concert, MAMMA MIA! I HAVE A DREAM (ITV), Sound of Music Live (2016 BAFTA Award), Superstar, Over the Rainbow, I’d Do Anything, Any Dream Will Do, How To Solve A Problem Like Maria (2007 Emmy Award), Kombat Opera presents… (2008 Golden Rose Montreux Award) Hollyoaks, West End Star (TV3 Sweden).
Awards include: Casting Directors Guild Award for Best Musical Casting 2022 (Back to the Future The Musical).
David is proud to be Associate Artist at the Old Vic, Trustee of Watermill Theatre, Newbury, Trustee of Council of Dance, Drama and Musical Theatre, and Vice President of Arts Educational School.
GBC Casting Directors: Will Burton, Stephen Crockett.
GBC Casting Associate: Amy Beadel.
GBC Casting Coordinator: Will Burry.
https://www.grindrodandburton.co.uk/
Donovan is an American producer active in theatre, film and music. Frequently collaborating with Colin Ingram, their production of Back To The Future-The Musical at the Adelphi Theatre won Best New Musical at the 2022 Olivier Awards, the 2022 What’sOnStage Awards and the 2022 BroadwayWorld UK Awards. Donovan also produced the 2022 production of Grease at the Dominion Theatre and the musical's 2019 and 2021 UK tours. Donovan’s first foray into theatre was the Broadway and West End productions of Ghost-The Musical which received three Tony nominations and five Olivier nominations. In 2013, Donovan produced Breakfast at Tiffany’s on Broadway starring Emilia Clarke; it won Best New Play at the BroadwayWorld.com Awards. Donovan produced the film Prey for Rock & Roll starring Gina Gershon which premiered at 2003 Sundance Film Festival and the record Punk Standards by Deborah Dutcher, his wife. He also acted in the Oscar winning film Philadelphia.
Donovan is eternally grateful to the brilliant creative team and cast that have brought this show to life and pinches himself every day that he is a part of it. Most of all, he wishes to thank his good friend and co-producer Colin Ingram, his wife Debby, his son Donny and all of the people who have ever inspired or supported him in his life, of which there are too many to mention.
The Frankel Viertel Baruch Routh Group (Producers) has produced and general managed plays and musicals for the past 37 years including the original Broadway productions of The Producers; Hairspray; Young Frankenstein; Smokey Joe’s Café; Angels in America; Penn & Teller; Love Letters, Swing!; The Weir; The Encounter and The Parisian Woman starring Uma Thurman. Their revivals on Broadway include Gypsy with Patti LuPone and Laura Benanti, the Old Vic’s The Norman Conquests, A Little Night Music with Catherine Zeta Jones and Angela Lansbury and later Bernadette Peters and Elaine Stritch, John Doyle’s Sweeney Todd with Patti LuPone and Company with Raul Esparza; A Funny Thing… Forum with Nathan Lane and later Whoopi Goldberg, and the first-ever Broadway revivals of The Sound of Music and Little Shop of Horrors. Notable Off-Broadway premieres include Driving Miss Daisy; Frankie & Johnny in the Clair de Lune; The Cocktail Hour;Oleanna; Jeffrey; Marvin’s Room; and Stomp. They've mounted tours and productions in London, Australia, Canada, Europe and throughout Asia. Their awards include two Pulitzer Prizes, three Olivier Awards for Best Musical and four Grammy’s. Their nine Tony Awards include all four Best categories: Play, Musical, Revival of a Play and Revival of a Musical. They own and operate the acclaimed Broadway-themed nightclub/cabaret 54 Below, which presents over 650 performances each year and was the recipient of the 2022 Tony Awards Honor for Excellence in the Theatre.
Combining our knowledge of theatre and capital, Playing Field is dedicated to accelerating the creation of world-class theatre. We are involved in the early-stage development, late-stage investment and production of a wide variety of projects in London, nationally and internationally.
Work includes: Life of Pi (London, UK tour, NY and US tour), Back to the Future (London, NY and US tour), War Horse (UK tour), The Roommate (NY), Macbeth, People Places and Things, Waiting for Godot, Why Am I So Single?, Long Day’s Journey Into Night, Player Kings, Slave Play, The Hills of California, Starlight Express, MJ the Musical, Hello, Dolly!, Dear England, King Lear, Stranger Things, The Motive and the Cue, Dr Strangelove, Standing at the Sky’s Edge, Lyonesse, Edward Scissorhands, Merrily We Roll Along (NY), Dr Semmelweis, A Strange Loop, The Crucible, 42nd Street, Crazy For You, Groundhog Day (London and Australia), A Little Life, A Streetcar Named Desire, Patriots, 2:22 A Ghost Story, A Doll’s House, The Wizard of Oz, New Adventures’ Sleeping Beauty, New York, New York, Oklahoma!, Bugsy, The Piano Lesson (NY), Death of a Salesman (NY), Moulin Rouge! (London and world tour), The Lehman Trilogy (London and NY), The Ocean at the End of the Lane, The Lion, the Witch and the Wardrobe, Jerusalem, Funny Girl (NY), 101 Dalmatians, Good, New Adventures’ Nutcracker!, The Human Voice, Newsies, Disney’s Bedknobs and Broomsticks, Singin’ in the Rain, Chicago, School of Rock, Girl from the North Country, Grease, Hairspray, Joseph and the Amazing Technicolor Dreamcoat, The Pillowman, Annie, The Bodyguard, The Curious Incident of the Dog in the Night-time, Fiddler on the Roof and Rosmersholm.
playingfield.co.uk
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https://dctheatrescene.com/2016/05/31/oliver-thornton-playing-bianca-taming-shrew-says-love/
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en
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Oliver Thornton, playing Bianca. What Taming of the Shrew says about love
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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/
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“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.news-herald.com/2024/07/31/happenings-whats-coming-up-in-northeast-ohio-starting-aug-2/
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Happenings — what’s coming up in Northeast Ohio starting Aug. 2
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2024-07-31T00:00:00
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Here is a brief rundown of some coming entertainment options in Northeast Ohio. An extended version can be found Make submissions for consideration via email to entertainment@morningjournal.com or entertainment@news-herald.com. You must include a phone number and/or web address for publication.ArtBeck Center for the Arts: 17801 Detroit Ave., Lakewood, presents “ Beck Center Faculty & Staff […]
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News-Herald
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https://www.news-herald.com/2024/07/31/happenings-whats-coming-up-in-northeast-ohio-starting-aug-2/
|
Here is a brief rundown of some coming entertainment options in Northeast Ohio. An extended version can be found Make submissions for consideration via email to entertainment@morningjournal.com or entertainment@news-herald.com. You must include a phone number and/or web address for publication.
Art
Beck Center for the Arts: 17801 Detroit Ave., Lakewood, presents “ Beck Center Faculty & Staff Visual Arts Exhibition,” through Aug. 16. Call 216-521-2540, or visit beckcenter.org.
Cleveland Institute of Art: 11610 Euclid Ave., presents its 2024 alumni exhibition, “Are We There Yet?,” which explores issues related to artistic evolution, attempting to answer a question: What is it to become a mature artist?, through Aug. 9 in CIA’s Reinberger Gallery; “Ready, Set, Relay!,” a multidisciplinary Cleveland Institute of Art student-curated exhibition that celebrates the legacy of artworks in the Progressive Art Collection, through Sept. 6 at Progressive’s Campus One 6300 Wilson Mills Road, Mayfield Village (RSVP to visit at readysetrelay.com). Call 216-421-7407 or visit CIA.edu/events.
Cleveland Museum of Art: 11150 East Blvd., presents “Liturgical Textiles from Late Medieval Germany, through Aug. 4; “From Dreaming to Hiking: Korean Landscape Paintings,” through Sept. 29; “Into the Seven Jeweled Mountain: An Immersive Experience,” through Sept. 19; “Carpets and Canopies in Mughal India,” through Sept. 8; “Monet in Focus,” through Aug. 11; “Monet in Focus,” through Aug. 11; “Six Dynasties of Chinese Painting,” through Sept. 1; “Korean Couture: Generations of Revolution,” through Oct. 12; “Fairy Tales and Fables: Illustration and Storytelling in Art,” through Sept. 8; “Rose B Simpson: Strata,” through April 13, 2025; “Picturing the Border,” through Jan. 5; “Demons, Ghosts, and Goblins in Chinese Art,” Sept. 8 through Feb. 2; Arts of the Maghreb: North African Textiles and Jewelry,” Nov. 10 through Oct. 12, 2025; “Picasso and Paper,” Dec. 8 through March 23, 2025. Call 216-421-7340 or visit clevelandart.org.
Kent State University Museum: 515 Hilltop Drive, Kent, presents “A Life in Style: The Wardrobe of James E. Mulholland,” through Aug. 4; “Shannon Rodgers and Jerry Silverman: Dazzling Day and Nigh,” through July 28, 2025. Call 330-672-3450 or visit kent.edu/museum.
Museum of Contemporary Art (moCa) Cleveland: 11400 Euclid Ave., presents summer/fall exhibitions running through Dec. 29 — “Skinchangers; Begotten of My Flesh,” by Ruben Ulises and Rodriguez Montoya | “Message From Our Planet,” digital art from the Thoma Collection | “A PLACE meant,” addressing alternative and sustainable approaches to accessible houseing. Call 216-421-8671 or visit mocacleveland.org.
Penitentiary Glen Reservation: 8668 Kirtland-Chardon Road, Kirtland, presents 37th annual “Amateur Photography Contest and Show,” through Aug. 4. Call 440-256-1404 or visit lakemetroparks.com/parks-trails/penitentiary-glen-reservation.
River Gallery: 19046 Old Detroit Road, Rocky River, presents “Deadpan,” an exhibition of works by husband-and-wife duo Tom Bartel and Rachel Clark, through Aug. 3. Visit RiverGalleryArts.com, email rivergalleryarts@gmail.com or call 440-331-8406.
Spaces Gallery: 2220 Superior Viaduct, Cleveland, presents “Incantations,” through Aug. 24. Call 216-621-2314 or visit spacesgallery.org.
Valley Art Center: 155 Bell St., Chagrin Falls, presents a dual exhibition featuring the work of Ohio artists David Kuntzman, from Paris, and Kenn Hetzel, from Mantua, through Aug. 28 (artist talk on Aug. 15). Call 440-247-7507 or visit valleyartcenter.org.
Auditions, rehearsals, submissions, etc.
Workshop Players: 44820 Middle Ridge Road, Amherst, will hold auditions for “A 1940s Radio Christmas Carol” by Walton jones and David and Faye Greenberg and directed by Kristinia Rivera, 3 to 5 p.m. Aug. 18 and 7 to 9 p.m. Aug. 20 at the theater. Call 440-634-0472 or visit workshopplayers.org.
Comedy
Agora Theatre & Ballroom: 5000 Euclid Ave., Cleveland, presents Nate Jackson, Sept. 21; Andrew Santino, Oct. 10; Craig Ferguson, Nov. 3; Mitchell Tenpenny, Nov. 14; “O Christmas Tea: A British Comedy,” Dec. 7; Ali Siddiq, Dec. 14. Visit Blank CAgoraCleveland.com.
Akron Civic Theatre: 182 S. Main St., presents Dane Cook, Oct. 24. Visit AkronCivic.com.
Covelli Centre: 229 E. French St., Youngstown, presents Sebastian Maniscalco, Nov. 14. Call 800-745-3000 or visit covellicentre.com.
Funny Bone Comedy Club and Restaurant: 1148 Main Ave., Cleveland, presents DeRay Davis, Aug. 2 through 4; Nasser Al-Rayess, Aug. 7; Aida Rodriguez, Aug. 9 and 10; Rob Kazi, Aug. 14; Chris Powell, Aug. 16 and 17; Sam Jay, Aug. 18; Clark Jones, Aug. 21; Rob Ward & Friends, Aug. 22; Michael Blackson, Aug. 23 and 24; JJ Williamson, Aug. 30 and 31; Tasha K, Sept. 1; Mark Curry, Sept. 6 and 7. Call 216-696-4677 or visit ClevelandFunnyBone.com.
Goodyear Theater: 1201 E. Market St., Akron, presents Nick Swardson, Sept. 21. Call 330-690-2307 or visit goodyeartheater.com.
Hilarities 4th Street Theatre: 2025 E. Fourth St., Cleveland, presents Jason Banks, Aug. 2 and 3; Mike Cronin, Aug. 8; Lewis Black, Aug. 9 and 10; Jeff Dye, Aug. 14; Sammy Obeid, Aug. 14; Lil Sasquatch & Francis Ellis, Aug. 15 through 17; Irene Tu, Aug. 16; Myq Kaplan, Aug. 18; Jared Freid, Aug. 22 through 24; Andrew Dismukes, Aug. 25; Jordan Jensen, Aug. 30 and 31; Anthony Rodia, Sept. 6 through 8; Drew Lynch, Sept. 12 through 14; Jason Cheny, Sept. 19; Phil Hanley, Sept. 26 through 28; Gianmarco Soresi, Oct. 3 through 5; Surrounded with Mike Falzone, Oct. 6; Matt McCusker, Oct. 10 though 12; Liz Miele, Oct. 13; Adam Ray, Oct. 17 through 19; Michael Turner, Oct. 18; Lucas Zelnick, Oct. 24; Mark Normand, Oct. 25 through 27; Jeff Leeson, Nov. 14; Billy Gardel, Nov. 15 through 17; Sam Morril, Nov. 21 through 23; Mary Santora, Nov. 29 and 30; Uncle Lazer, Dec. 4; Casey Rocket, Dec. 15. Call 216-736-4242 or visit pickwickandfrolic.com.
House Three Thirty: 532 W. Market St., Akron, presents Fumi Abe, Aug. 2. Visit housethreethirty.com.
Kent Stage: 175 E. Main St., Kent, presents David Cross, Sean Patton, Nov. 2. Call 330-677-5005 or visit kentstage.org.
MGM Northfield Park: 10777 Northfield Road, Northfield, presents Bassem Yousef, Sept. 15; Corey Holcomb, Sept. 7; Bored Teachers, Oct. 26; Chico Bean, Nov. 8. Call 330-908-7625 or visit mgmnorthfieldpark.mgmresorts.com.
Playhouse Square: 1501 Euclid Ave., Cleveland, presents Sarah Silverman, Sept. 21; Bret Goldstein, Aug. 24; Kevin Hart, Nov. 15. Call 216-241-6000 or visit PlayhouseSquare.org.
Rocket Mortgage FieldHouse: 1 Center Court, Cleveland, presents Martin Lawrence, Aug. 3; Tom Segura, Sept. 26. Call 888-894-9422 or visit rocketmortgagefieldhouse.com.
TempleLive Cleveland Masonic: 3615 Euclid Ave., Cleveland, presents Couples Therapy, Oct. 19; Joe Sib, Oct. 26; Giggly Squad Live, Dec. 6; Sal Vulano, March 30. Visit templelive.com/cleveland.
Dance
Akron Civic Theatre: 182 S. Main St., presents Derek Hough “Dance for the Holidays,” Nov. 8 Visit AkronCivic.com.
Cleveland Ballet: presents “Dracula & The Masque of the Red Death,” Oct. 18 and 19, at Playhouse Square’s Mimi Ohio Theatre; “The Nutcracker,” Dec. 13 through 22 at Playhouse Square’s Connor Palace; “Romeo and Juliet,” May 16 and 17 at Playhouse Square’s Mimi Ohio Theatre. Visit Clevelandballet.com.
Film
Chagrin Documentary Film Festival: presents CDFF, the theme of which is “Everyone Has a Story,” Oct. 1 through 6. Call 440-247-1591 or visit chagrinfilmfest.org.
Cinema at the Square: a film series at Playhouse Square’s Connor Palace in Cleveland, presents “Rebel Without a Cause,” 7:30 p.m. Aug. 2; “All About Eve,” 2 p.m. Aug. 3; “Hairspray” (1988), 7:30 p.m. Aug. 3; “The Parent Trap,” (1998), 2 p.m. Aug. 4; “Ever After,” 7;30 p.m. Aug. 7; “Some Like It Hot,” 7:30 p.m. Aug. 8; “Moonstruck,” 7:30 p.m. Aug. 9; “The Philadelphia Story,” 2 p.m. Aug. 10; “Die Hard,” 7:30 p.m. Aug. 10; “Mary Poppins” 2 p.m. Aug. 11. Call 216-241-6000 or visit playhousesquare.org/cinema.
Cleveland Institute of Art Cinematheque: 11610 Euclid Ave., Cleveland, presents “Last Summer” (“L’été Dernier,” France/Norway, 2023, Catherine Breillat), 6:30 p.m. Aug. 1 and 9:15 p.m. Aug. 2; “The Nature of Love” (“Simple Comme Sylvain,” Canada/France, 2023, Monia Chokri), 8:35 p.m. Aug. 1 and 7 p.m. Aug. 2; “House of Usher” (aka “The Fall of the House of Usher,” USA, 1960, Roger Corman), 5 p.m. Aug. 3 and 8:40 p.m. Aug. 4; “Made in England: The Films of Powell and Pressburger” (UK, 2024, David Hinton), 6:40 p.m. Aug. 3; “The Small Back Room” (UK, 1949, Michael Powell, Emeric Pressburger), 9:15 p.m. Aug. 3 and 6:30 p.m. Aug. 4; “Brick and Mirror” (“Khesht o Ayeneh,” Iran, 1966, Ebrahim Golestan), 3:30 pm. Aug. 4. Call 216-421-7450 or visit CIA.edu/Cinematheque.
Grog Shop: 2785 Euclid Heights Blvd., presents “Zombie” composer’s cut by Fabio Frizzi, Sept. 11. Call 216-321-5588 or visit grogshop.gs.
Music
Agora Theatre & Ballroom: 5000 Euclid Ave., Cleveland, presents Snot, Aug. 8; Dweezil Zappa, Aug. 17; Iron & Wine, Aug. 20; New Found Glory, Aug. 20; Glen Hansard, Sept. 1; Powerwolf, Sept. 4; Movements, Sept. 6; Front 242, Nitzer Ebb, Sept. 8; Descendents & Circle Jerks, Sept. 13; The Warning, Sept. 18; Coal Chamber, Sept. 19; The California Honeydrops, Sept. 20; Nothing More, Sept. 24; The Beaches, Sept. 25; Skillet, Sept. 26Sofi Tukker, Sept. 30; Testament, Kreator, Oct. 1; Hatebreed, Oct. 2; The Black Dahlia Murder, Dying Fetus, Oct. 3; Marianas Trench, Oct. 4; Witch Perfect, Oct. 6; “Jim Henson’s Labryinth; In Concert,” Oct. 7; Sepultura, Oct. 8; Dayseeker, Oct. 9; COIN, Oct. 11; Dispatch, Oct. 15; Die Antwoord, Oct. 19; Rise Against, Oct. 20; Lorna Shore, Oct. 24; BEAT: Adrian Belew, Steve Vai, Tony Levin and Danny Carey Performing 80s King Crimson, Oct. 25; Mushroomhead Halloween 2024, Oct. 26; KMFDM, Oct. 29; TVBOO, Oct. 31; GWAR, Nov. 1; The Genesis Show, Nov. 2; King Diamond, Nov. 6; Wyatt Flores, Nov. 16; W.A.S.P., Nov. 19; Underoath, Nov. 30; Suki Waterhouse, Dec. 6; The Ghost Inside, Dec. 11; Nile & Six Feet Under, Jan. 23; Travis, Feb. 11; Dean Lewis, April 17. Visit AgoraCleveland.com.
Akron Civic Theatre: 182 S. Main St., presents Killer Queen (Queen tribute), Sept. 30; Andre 3000, Nov. 2; Straight No Chaser, Dec. 13. Visit AkronCivic.com.
Apollo’s Fire, The Cleveland Baroque Orchestra: presents Countryside Concerts — “Vivaldi’s Four Seasons’ Rediscovered With Songs in Celebration of Nature,” 7:30 p.m. Aug. 13 at The Bath Church (UCC). Call 216-320-0012 or 800-314-2535, or visit apollosfire.org.
Bash on the Bay: a music fest featuring Hardy, Jelly Roll, Oliver Henry, Warren Zeiders, Drake White and more, will Aug. 21 and 22 at Put-in-Bay Airport on South Bass Island. Visit bashonthebay.com.
Beachland Ballroom: 15711 Waterloo Road, Cleveland, presents Colby Acuff, Aug. 2; Lambrini Girls, Blossom Park, Aug. 2; Kaitlin Butts, Angela Perley, Aug. 3; Into the Blue (ELO tribute), Aug. 3; Rebirth Brass BAnd, Daland Brass Band, Aug. 4; Back to “Back to Black”: The Amy Winehouse Selebration, Aug. 6; David Ramierez, Aug. 6; Robert Jon & The Wreck, Easton Union, Aug. 7; Kind Hearted Strangers, Aug. 7; Matt Schofield, Aug. 8; Giuda, The A-10s, Aug. 8; Banners, Aug. 9; The Aristocrats, Aug. 10; Austin Stambaugh’s Electric Weepers, Aug. 10; A Harmonica Salute to Reese Black Germany, Aug. 11; The Band of Heathens, Aug. 13; The Surfajettes, Dave Rich & The Enablers, Aug. 14; Tommy Prine, Theo Kandel, Aug. 14; 12th annual International Ohio Burlesque Festival, Aug. 15 through 17; Krallice, Aug. 16; Reverend Kristin Michael Hayter, Aug. 18; Vandoliers, Aug. 18; Pub Choir, Aug. 19; Silverada (formerly Mike & the Moonpies) Aug. 22; The Whips, Miki Fiki, Aug. 23; The Great Iron Snake, Evel, Aug. 24; Built to Spill, Aug. 28; Service, Aug. 29; The Linda Lindas, Sept. 3; Brothertiger, Sept. 6; Trash Bash With After the Apocalypse, Hams, Beast Killer, Sept. 7; American Aquarium, Sept. 8; Joey Harkum, Sept. 11; My Brightest Diamond, Sept. 12; Sam Burchfield & The Scoundrels, Sept. 13; Sierra Hull, Sept. 18; DEVOtional 2024, Sept. 20 and 21; William Elliott Whitmore, Sept. 24; The War and Treaty, Sept. 28; Under the Rug, Sept. 28; Catpack, Sept. 29; Victoria Canal, Sept. 29; Son Little, Oct. 2; The Sheepdogs, Oct. 3; Už Jmse Doma, DaLand Brass Band, Oct. 3; Sarah Shook and The Disarmers, Oct. 4; The Dead Tongues, Oct. 4; The Lemon Twigs, Oct. 7; an evening with Pink Talking Fish, Oct. 9; Clem Snide, Oct. 10; Jason Eady, Oct. 13; Kishi Bashi, Sweet Loretta, Oct. 14; Boris, Starcrawler; Joshua Hyslop, Oct. 19; Shwayze, Sensamotion, Nov. 1; Deer Tick, Nov. 3; Atta Boy, Nov. 8; BigXthaPlug, Ro$ama, Nov. 12; Ty Segal (solo acoustic), April 22. Call 216-383-1124 or visit beachlandballroom.com.
Blossom Music Center: 1145 W. Steels Corners Road, Cuyahoga Falls, presents Primus, Coheed and Cambria, Too Many Zoos, Aug. 5; Hozier, Aug. 6; Thirty Seconds to Mars, AFI, Poppy, Aug. 7; Dan + Shay, Jake Owen, Dylan Marlowe, Aug. 9; Kidz Bop Live 2024, Aug. 11; “Barbie” the Movie: In Concert, Aug. 12; Tedeschi Trucks Band, Margo Price, Aug. 13; Hootie & the Blowfish, Collective Soul, Edwin McCain, Aug. 15; Glass Animals, Kevin Abstract, Aug. 21; The Doobie Brothers, Steve Winwood, Aug. 22; Rob Zombie, Alice Cooper, Ministry, Filter, Aug. 28; Pitbull, T-Pain, Aug. 29; Avril Lavigne, Simple Plan, girlfriends, Sept. 6; Cage the Elephant, Sept. 9; Stone Temple Pilots, +Live+, Soul Asylum, Sept. 10; Outlaw Music Festival, featuring Willie Nelson & Family, Bob Dylan, John Mellencamp, Southern Avenue, Sept. 12; Parker McCollum, Chayce Beckham, Elvis Shane, Sept. 13; Sum 41, The Interrupters, Sept. 15; Vampire Weekend, Cults, Sept. 19; The National, The War on Drugs, Lucius, Sept. 21; Meghan Trainor, Sept. 27; Post Malone, Oct. 1. Call 330-920-8040 or visit livemu.sc/2QcbKUb.
Blossom Music Festival: at Blossom Music Center, the summer home of The Cleveland Orchestra, presents “Movie Night Live: ‘The Lord of the Rings: The Return of the King,’” featuring the film with Howard Shore’s score performed live and also featuring the Blossom Festival Chorus and Cleveland Orchestra Children’s Chorus, 7 p.m. Aug. 2 through 4; “An Evening With John Legend: A Night of Songs and Stories with The Cleveland Orchestra,” Aug. 8; “Tchaikovsky’s Fifth Symphony,” featuring Víkingur Ólafsson on piano and other music by R. Schumann, 7 p.m. Aug. 17; “Sinatra and Beyond,” a concert by the Blossom Festival Band with Tony DeSare on vocals, 7 p.m. Aug. 25; “Cirque Goes Broadway,” a concert by Cirque de la Symphonie and Akron Symphony Orchestra with Morgan James and Hugh Panaro on vocals performing songs “Les Misérables,” “Frozen” and “Miss Saigon,” 7 p.m. Aug. 31 and Sept. 1. Call 216-231-1111 or visit clevelandorchestra.com.
Cain Park: Goodnor and Superior, Cleveland Heights, presents concerts in Evans Amphitheater — Skerryvore, Aug. 6; Gin Blossoms, Toad the Wet Sprocket, Vertical Horizon, Aug. 8; Big Head Todd & The Monsters, Aug. 15; Floyd Nation, Aug. 17; Samara Joy, Aug. 23; The Robert Cray Band, Steve Earle, Aug. 25; My Morning Jacket, The String Cheese Incident, Sept. 27; Jade Bird, Oct. 4. Call 216-371-3000, or visit cainpark.com.
Chagrin Tavern on the River: 196 E. Island Drive Eastlake, presents Phil n The Blanks (classic rock), 7 p.m. Aug. 3 Call 440-540-4213 or visit chagrintavernontheriver.com.
Cleveland Browns Stadium: 100 Alfred Lerner Way, Cleveland, presents Billy Joel, Rod Stewart, Sept. 13. Visit clevelandbrownsstadium.com.
Cleveland Orchestra: performing at the Jack, Joseph and Morton Mandel Concert Hall at Severance Music Center, 11001 Euclid Ave., Cleveland, with Franz Welser-Möst, conductor, presents “Tchaikovsky’s Pathétique,” with Frank Peter Zimmermann, violin, also featuring music by Prokofiev and R. Schumann, 7:30 p.m. Sept. 19 and 3 p.m. Sept. 22; “Kolesnikov In Recital,” a performance by Pavel Kolesnikov, piano, featuring music by J.S. Bach, 7:30 p.m. Sept. 24 in Reinberger Chamber Hall; “Bronfman Plays Rachmaninoff,” with Yefim Bronfman, piano, and featuring music by Stravinsky and Rachmaninoff, 7:30 p.m. Sept. 26 and 27, 8 p.m. Sept. 28 and 3 p.m. Sept. 29; “Harding Conducts Schumann,” with Daniel Harding, conductor, also featuring music by Haydn and Walker, 8 p.m. Oct. 3 and 5 and 11 a.m. Oct. 4 (Haydn piece not performed during matinee); “Salonen Conducts Salonen,” with Esa-Pekka Salonen, conductor, Senja Rummukainen, cello (Cleveland Orchestra debut), also featuring music by Ravel and Sibelius, 7:30 p.m. Oct. 10, 8 p.m. Oct. 12 and 3 p.m. Oct. 13; “Mahler’s Third Symphony,” with Klaus Mäkelä, conductor, Jennifer Johnston, mezzo-soprano and The Cleveland Orchestra Chorus and The Cleveland Orchestra Children’s Chorus, 7:30 p.m. Oct. 17 and 18 and 8 p.m. Oct. 19; “Tan Dun Conducts Tan Dun, with Tan Dun, conductor (Cleveland Orchestra debut), Marc Damoulakis, percussion, and featuring Tan Dun’s “Water Concerto” (Cleveland Orchestra premiere) and music by Stravinsky, 7:30 p.m. Oct. 31 and 8 p.m. Nov. 2; Tim Burton’s “The Nightmare Before Chirstmas,” 7:30 p.m. Nov. 1; “Beethoven Piano Concerto Cycle — Program 1,” with Igor Levit, piano, Augustin Hadelich, violin, and Julia Hagen, cello (Cleveland Orchestra debut), featuring Triple Concerto and Piano Concerto No. 3, 7:30 p.m. Nov. 6 and 7; “Beethoven Piano Concerto Cycle — Program 2,” with Igor Levit, piano, featuring Piano Concerto No. 2 and Piano Concerto No. 4, 8 p.m. Nov. 9 and 7:30 p.m. Nov. 12; “Beethoven Piano Concerto Cycle — Program 3,” with Igor Levit, piano, featuring Piano Concerto No. 1 and Piano Concerto No. 5, “Emperor,” 7:30 p.m. Nov. 15, 8 p.m. Nov. 16 and 3 p.m. Nov. 17; “Mahler’s Song of the Earth,” with Limmie Pulliam, tenor, Iurii Samoilov, baritone, and The Cleveland Orchestra Chorus also featuring music by Bernd Richard Deutsch, 7:30 p.m. Nov. 21 and 22 and 8 p.m. Nov. 23; “Rhapsody in Blue,” with David Robertson, conductor, and Marc-André Hamelin, piano, also featuring music by Ellington and Copland, 7:30 p.m. Nov. 29, 8 p.m. Nov. 30 and 3 p.m. Dec. 1; “Gerstein in Recital,” a performance by Kirill Gerstein, piano, featuring music by R. Schumann, Francisco Coll, Ravel and Liszt, 7:30 p.m. Dec. 4 in the Jack, Joseph and Morton Mandel Concert Hall; “Ax Plays Mozart,” with Pablo Heras-Casado, conductor, and Emanuel Ax, piano, also featuring the music of Shostakovich, 7:30 p.m. Dec. 5 and 6 and 8 p.m. Dec. 7; Disney’s “The Muppet Christmas Carol,” 7:30 p.m. Dec. 18 and 19; Canadian Brass, 7:30 p.m. Dec. 23; “An American in Paris,” with Stéphane Denève, conductor, and Steven Banks, saxophone, featuring music by Milhaud, Guillaume Connesson, Poulenc and Gershwin, 7:30 p.m. Jan. 9, 8 p.m. Jan. 11 and 3 p.m. Jan. 12; “Hahn Plays Brahms,” with Elim Chan, conductor, Hilary Hahn, violin, also featuring music by Lutosławski, 7:30 p.m. Jan. 16 and 17 and 8 p.m. Jan. 18; “Also sprach Zarathustra,” with Thomas Guggeis, conductor (Cleveland Orchestra debut), and Mark Kosower, cello, featuring music by R. Strauss, Dutilleux and Ravel, 7:30 p.m. Feb. 7, 8 p.m. Feb. 8 and 3 p.m. Feb. 9; “Bruckner’s Seventh,” with Fabio Luisi, conductor, and Tim Mead, countertenor, also featuring music by Silvia Colasanti, 7:30 p.m. Feb. 13 and 15; “Adès Conducts Adès,” with Thomas Adès, conductor, Kelley O’Connor, mezzo-soprano, and The Cleveland Orchestra Chorus, featuring Adès’ “America: A Prophecy” (US premiere, TCO co-commission)” and music by Sibelius, Ives and Saariaho, 7:30 p.m. Feb. 20 and 8 p.m. Feb. 22; “Ólafsson & Wang In Recital,” a performance by Víkingur Ólafsson, piano, and Yuja Wang, piano, featuring music by several composers, 3 p.m. Feb. 23 In the Jack, Joseph and Morton Mandel Concert Hall; “Beethoven’s Eroica,” with Alan Gilbert, conductor, Leonidas Kavakos, violin, featuring music by Shostakovich, 7:30 p.m. Feb. 27 and 28 and 8 p.m. March 1; “Tchaikovsky’s Fourth Symphony,” with Seong-Jin Cho, piano, also featuring music by Ravel, 7:30 p.m. March 6 and 7 and 8 p.m. March 8 and 3 p.m. March 9; “Haydn & Strauss,” with Asmik Grigorian, soprano (Cleveland Orchestra debut), also featuring music by Janáček and Puccini, 7:30 p.m. March 13 and 8 p.m. March 15; “Prokofiev’s Fourth Symphony,” also featuring music by Haydn, 11 a.m. March 14; “Andsnes In Recital, a performance by Leif Ove Andsnes, piano, featuring the music of Grieg, Tveitt and Chopin, 7:30 p.m. March 27; Marvel Studios’ “Black Panther,” 7:30 p.m. March 28 and 29; “Bach’s Easter Oratorio,” with Bernard Labadie, conductor, Joélle Harvey, soprano, Adèle Charvet, mezzo soprano (Cleveland Orchestra debut), Andrew Haji, tenor (Cleveland Orchestra debut), Gordon Bintner, bass-baritone (Cleveland Orchestra debut) and The Cleveland Orchestra Chorus, 7:30 p.m. April 17 and 18 and 8 p.m. April 19; “Mozart & Elgar,” with Kazuki Yamada, conductor (Cleveland Orchestra debut), Francesco Piemontesi, piano, 7:30 p.m. April 24 and 25; “Kissin In Recital,” a performance by Evgeny Kissin, piano, featuring the music of Beethoven, Chopin and Shostakovich, 7:30 p.m. May 7 in the Jack, Joseph and Morton Mandel Concert Hall; “Mozart’s Great G Minor,” also featuring Allison Loggins-Hul’s “New Work” (world premiere, TCO co-commission) and music by Prokofiev, 7:30 p.m. May 8, 11 a.m. May 9 (no Prokofiev in matinee) and 8 p.m. May 10; “Janáček’s Jenůfa,” with Latonia Moore, soprano (Jenůfa), Pavol Breslik, tenor (Laca) (Cleveland Orchestra debut), Miles Mykkanen, tenor (Števa), Nina Stemme, soprano (Kostelnička) and The Cleveland Orchestra Chorus, 7 p.m. May 17 and 22 and 3 p.m. May 25; “Vox Humana,” with Sarah Aristidou, soprano (Cleveland Orchestra debut), Tony Sias, narrator, and The Cleveland Orchestra Chorus, featuring music by Poulenc, Bach, Ustvolskaya and Strauss, 7:30 p.m. May 23 and 8 p.m. May 24. Call 216-231-7300 or visit ClevelandOrchestra.com.
E.J. Thomas Hall: 198 Hill St., Akron, University of Akron, presents Vitamin String Quartet, playing the music of Taylor Swift, “Bridgerton” and more, Oct. 24. Visit uakron.edu/ej.
Ferrante Winery and Ristorante: 5585 N. River Road W., Geneva, presents Mike Barker, 5:30 p.m. Aug. 2; Anthony Gregory, 1 p.m. Aug. 3; Don Perry Duo, 5:30 p.m. Aug. 3; Nia, 2 p.m. Agu. 4; Back Spin, 5:30 p.m. Aug. 9; Tommy Hook, Aug. 10; On the Rocks, 5:30 p.m. Aug. 10; Dennis Ford, 2 p.m. Aug. 11; Don Perry Duo, 5:30 p.m. Aug. 16; Nia, 1 p.m. Aug. 17; Porch Rockers, 5:30 p.m. Aug. 17; Matt Carson, 2 p.m. Aug. 18; Eric Andrews, 5:30 p.m. Aug. 23; Chuck Ditri, 1 p.m. Aug. 24; O’Needers, 5:30 p.m. Aug. 24; Jimmy Mrozek, 2 p.m. Aug. 25; On the Rocks, 5:30 p.m. Aug. 30; Rob Lundi, 1 p.m. Aug. 31; The Neverleys, 5:30 p.m. Aug. 31; Nia, 2 p.m. Sept. 1. Call 440-466-8466 or visit ferrantewinery.com.
Goodyear Theater: 1201 E. Market St., Akron, presents Vegas After Dark, Aug. 24; Ozark Mountain Daredevils, Sept. 20; Bruce Hornsby, Oct. 6; Toast (Bread tribute), Nov. 15Gillian Welch & David Rawlings, Nov. 23; Charlie Berens, Jan 10. Call 330-690-2307 or visit goodyeartheater.com.
Gospel Friends Quartet: present Gospel Trail, featuring several groups and Mitchel Jon of Nashville, noon to 7 p.m. Aug. 17 at Painesville Baptist Church, 1307 Riverside Drive. Visit gospelfriendsquartet.com.
Grog Shop: 2785 Euclid Heights Blvd., Cleveland Heights, presents D.O.A, War on Women, Aug. 6; Conway the Machine, Aug. 9; That 90’s Love: An Old School R&B Party, Aug. 10; Angie McMahon, Aug. 17; Protest the Hero, ‘68, Aug. 18; Mad Caddies, Aug. 22; King Buzzo & Trevor Dunn, JD PInkus, Aug. 28; Teenage Bottlerocket, The Last Gang, Aug. 29; Ben Nichols and Tim Barry, Max Stern, Aug. 30; Groga Palooza: — three nights of local music, vendors, and film, Aug. 30 through Sept 1 (Aug. 30 is at B Side Lounge); Scream, Soulside, Sept. 17; The Lemonheads, Sept. 18; Joe P, Sept. 20; The Juliana Hatfield Three, Sept. 25; Pansy Division, Bev Rage and the Drink, Sept. 27; The War and Treaty, Sept. 28; John Early, Oct. 2; Nilufer Yanya, Angelica Garcia, Oct. 6; 6arelyhuman, Oct. 13; Acid Mothers Temple, Spirit Temple, Oct. 16; Evan Honer, Oct. 18; Michigander, Cece Coakley, Nov. 9. Call 216-321-5588 or visit grogshop.gs.
Holden Arboretum: 9550 Sperry Road, Kirtland, presents Concerts in the Forest Series, 6 to 7:30 p.m. — Apostle Jones, Aug. 7. Visit holdenarb.org.
House of Blues: 308 Euclid Ave., Cleveland, presents 4th Rope Presents: Heels Have Eyes 2, Aug. 2; Foundation is Grateful with Bufflehead, Aug. 2; The American Idiots (tribute to Green Day), Aug. 3; It’s a Vibe with Arnol d Hines, Aug. 3; Hans Williams, Aug. 6; Five for Fighting, Aug. 9; The Taylor Party: Cruel Summer Tour (18 and over), Aug. 10; Jonah Kagen, Aug. 13; Bones UK, Agu. 14; Gimme Sugar (tribute to The Rolling Stones), Aug. 16; Black Pistol Fire, Aug. 23; R&B Only, Aug. 24; Strangelove: The Depeche Mode Experience, Aug. 30; Gasolina: Reggaeton Party, Aug. 31; Mr. Speed (tribute to Kiss), Sept. 7; The 502s, Oliver Hazard, Sept. 8; Baldassarre Rock Orchestra, Sept. 13; Fleshgod Apocalypse, Shadow of INtent, Sept. 14; Buzzcocks, Sept. 15; The Hives, Sept. 17; Leprous, Sept. 18; Something Corporate, Sept. 19; Lord of the Lost, Sept. 20; Polaris, Sept. 22; Mother Mother, Sept. 25; The Airborne Toxic Event, Sept. 26; Point North, Sept. 27; Loveless, Sept. 27; Social Distortion, Sept. 28 and 29; Phantogram, Sept. 30; Tori Kelly, Oct. 1; Switchfoot, Oct. 3; Palaye Royale, Oct. 4; Asking Alexandria, Oct. 5; Alec Benjamin, Oct. 6; Ricky Montgomery, Oct. 8; OMD (Orchestral Manoeuvres in the Dark), Oct. 9; Kaleo, Oct. 10; The Elevators, Oct. 11; The Front Bottoms, Oct. 13; Dayglow, Oct. 15; Everclear, Oct. 16; Mod Sun, lovelytheband, Oct. 10; Inhaler, Oct. 22; Drive-By Truckers, Oct. 23; Streetlight Manifesto, Nov. 1; Lyfe Jennings, Nov. 9; Animals as Leaders, Nov. 20; Senses Fall, Nov. 23; Welshly Arms, Nov. 29; Ekoostic Hookah, Nov. 30. Visit houseofblues.com/Cleveland.
Jacobs Pavilion: Nautica Entertainment Complex, West Bank of the Flats, Cleveland, presents mike., Aug. 2; John Fogerty, Aug. 3; Stephen Sanchez, Aug. 7; Lamb of God, Mastodon, Aug. 9; Iration & Pepper, Aug. 10; Bush, Jerry Cantrell, Candlebox, Aug. 13; Koe Wetzel, Aug. 21; The Avett Brothers, Aug. 23; King Gizzard & The Lizard Wizard, Aug. 24; O.A.R., Fitz & The Tantrums, Aug. 25; Mitski, Sept. 3; Jason Isbell and the 400 Unit, Alejandro Escovedo, Sept. 10; Clutch, Rival Sons, Sept. 19; Rainbow Kitten Surprise, Sept. 24. Visit jacobspavilion.com.
Jim Wadsworth Productions: presents the 17 annual Multi MusicFest, featuring Jeff Lorber Fusion, Kirk Whalum, Kenny Lattimore and Stacey (Sarah’s Girl) Richardson, Aug. 31 at Cain Park in Cleveland Heights. Visit clickgobuynow.com/jwp.
Kent Stage: 175 E. Main St., Kent, presents Eric Johnson, Aug. 2; John Sebastian with Jimmy Vivino, Aug. 4; Cactus, Aug. 9; Robert Earl Keen, Aug. 12; Kris Allen, Aug. 14; Albert Lee & Jeremy Clyde, Aug. 17; Graham Nash, Aug. 23; Crash Test Dummies, Sept. 5; Jackyl, Sept. 6; Joan Osborne, Sept. 7; Julian Lage, Sept. 11; Crystal Gayle, Sept. 13; Morgan James, Sept. 14; The Jayhawks, Sept. 19; Peter Yarrow & Noel “Paul” Stookey of Peter, Paul, & Mary, Sept. 20; Neko Case, Sept. 21; Cowboy Junkies, Sept. 22; Pat Travers Band, Aug. 24; Jake Shimabukuro, Sept. 12; Mark & Maggie O’Connor, Sept. 27; Iris DeMent, Ana Egge, Sept. 29; Billy Bob Thornton & The Boxmasters, Oct. 3; The Vindys, Oct. 4; Livingston Taylor with The Chagrin Falls Orchestra, Oct. 5; Melvin Seals & JGB, Oct. 6; The Jerry Douglas Band, Oct. 10; Rick Wakeman, Oct. 13; The Carole King & James Taylor Story with Dan Clews & Phoebe Katis, Oct. 16; Little Texs, Oct. 18; Martin Barre — “The History of Tull” Tour, Oct. 20; Wishbone Ash, Nov. 15; The Tubes, Nov. 23; Reverend Peyton’s Big Damn Band, Nov. 29; The Empty Pockets, Dec. 7. Call 330-677-5005 or visit kentstage.org.
Legacy Live: a concert series at Legacy Village in Lyndhurst with performances on a stage near the lawn near Bar Louie with music running from 5 to 8 p.m., presents Swamp Boogie Band (classic rock/oldies), 5 p.m. Aug. 3; East Wind (classic rock), 5 p.m. Aug. 10; Revolution Pie (tribute to The Beatles), 5 p.m. Aug. 17; Backtraxx (Motown/funk/rock), 5 p.m. Aug. 24; Light of Two Moons (acoustic rock), 5 p.m. Aug. 31. Call 216-382-3871 or visit Legacy-Village.com.
Les Delices: a group performing music from the French Baroque, presents “Moonlit Mozart,” Oct. 3 through 6; “14th Century Avant-Garde,” Nov. 22 through 24; “A Moment’s Oblivion,” Feb. 22 and 23; “The Mermaid,” April 25 through 27. Visit lesdelices.org.
Lorain Palace Theatre: 617 Broadway, Lorain, presents Intocable, Aug. 24; Stars of the Sixties, featuring The Lovin’ Spoonful, the Buckinghams, The Cowsills, Chris Ruggiero, Sept. 13; Gone Too Soon: The Ultimate Michael Jackson Experience, Sept. 21; Colt Ford, Sept. 27 (rescheduled from May 17); Lights Out: Tribute to Frankie Valli & The Four Seasons, Sept. 28; Average White Band, Oct. 4; The Edwards Twins, Oct. 11 (canceled); Tonight’s the Night, Oct. 12; A Tribute to the Tonight Show, Oct. 26; Yngwie Malmsteen, Nov. 8; Deana Carter, Nov. 16. Call 440-245-2323 or visit lorainpalace.com.
Mayhall’s and The Roxy: 13200 Madison Ave., Lakewood; presents Milly, Fiddlehead, Aug. 3. Visit mahalls20lanes.com.
Mentor Rocks concert series: with shows at 7 p.m. at Mentor Civic Amphitheater, 8600 Munson Road, presents Bruce in the USA (Bruce Springsteen tribute), Aug. 6; Katy Ellis as Taylor Swift (Taylor Swift tribute), Aug. 13 and 14; ZOSO (Led Zeppelin tribute), Aug. 16 (Mentor CityFest Friday); Just Like Pink (Pink tribute), Aug. 17 (Mentor CityFest Saturday); Maddie & Tae, Aug. 20; ESCAPE (Journey tribute), Aug. 27. Visit mentorrocks.info.
MGM Northfield Park: 10777 Northfield Road, Northfield, presents Our House: The Music Of Crosby, Stills, Nash & Young, Aug. 2; Happy Together, featuring The Turtles, Jay and The Americans, The Association, Badfinger, Aug. 9; Bachman-Turner Overdrive, Aug. 23; Squeeze, Sept. 1; Legends In Concert Feat. Tributes To Madonna, Tina Turner, Dolly Parton, Annie Lennox, Sept. 14; Beth Hart, Sept. 17 (new date); Todd Rundgran, Sept. 21; Leonid & Friends (Chicago tribute), Sept. 22; Peter Frampton, Sept. 23; Robin Trower, Marc Lee Shannon, Sept. 27 (canceled); Burton Cummings (The Guess Who), Sept. 28; Keim, Oct. 11; Wayne Newton, Oct. 12: Southside Johnny and the Asbury Jukes, Oct. 19; Little Feet, Duane Betts and Palmetto Motel, Oct. 20; Jam for the Cure | In Celebration of American Cancer Society, featuring Stayin’ Alive – One Night of the Bee Gees, Oct. 25; The Music of Pink Floyd performed by the Cleveland Pops featuring Conductor Brent Havens and vocalist Randy Jackson, Nov. 16; Aaron Lewis, Nov. 24; Matteo Bocelli, Dec. 8; The Fab Four: USA Meets The Beatles, Dec. 20. Call 330-908-7625 or visit mgmnorthfieldpark.mgmresorts.com.
Music Box Supper Club: 1148 Main Ave., Cleveland, presents Beatles Brunch with The Sunrise Jones, Aug. 4; Sugaray Rayford, Aug. 8; Dale Watson; Aug. 9; LoConti, Aug. 9; Sons of Cream, Aug. 14; Poi Dog Pondering, Aug. 15; Jeff “Skunk” Baxter, Aug. 15; Direct from Broadway! Brunch with Daniel Reichard, Aug. 18; Patrick Sweany, Austin Walkin’ Cane & Kristine Jackson; Marc Cohn, Aug. 22; Thornetta Davis, Aug. 23; Styx Tribute – brunch concert by The Best of Times, Aug. 25; Fantastic Cat, Aug. 29; Tropical Cleveland’s Hot Latin Dance Party, Aug. 31; Yacht Rock Brunch with Still Standing, Sept. 1; Sarah Jarosz, Sept. 4; Anne Cochran, Sept. 5; Mac McAnally, Sept. 6; Luther Vandross Tribute by The Reid Project, Spet. 6; Carole King Tribute by Home Again, Sept. 7; Nat King Cole Brunch with The Moss Stanley Trio featuring Jacob Johnson, Sept. 8; Crack the Sky, Sept. 12; Chris Smither, Cloudbelly, Sept. 13; Drag Brunch featuring Veranda L’Ni & Friends, Sept. 15; Abrepaso’s Tablao Flamenco, Sept. 19; Eagles Brunch with Out of Eden, Sept. 22;Apollo’s Fire: Baroque Bistro Brunch, Sept. 22; Linda Ronstadt Brunch featuring Rachel & The Beatnik Playboys, Sept. 22; ABBA Tribute with Super Troupers, Aug. 23; Canzoniere Grecanico Salentino, Sept. 25; Sisters In Song, featuring Rachel Brown, Becky Boyd and Kristine Jackson, Sept. 26; Motown & More with Nitebridge, Sept. 27; Stones Brunch with Gimme Sugar, Sept. 29Steely Dan Brunch with The FM Project, Sept. 29; Paul Thorn, Sept. 29; Jackopierce, Oct. 3; Van Morrison Tribute by Nitebridge & Colin Dussaul, Oct. 4; Gladys Knight tribute by The Reid Project, Oct. 4; Springsteen Brunch with Swamps of Jersey, Oct. 6; Linda Ronstadt Brunch featuring Rachel & The Beatnik Playboys, Oct. 6; Ben Ottewell and Ian Ball from Gomez, Oct. 9; Broken Arrow (tribute to Neil Young, Oct. 10; Matthew Sweet Acoustic Trio, Oct. 10; tribute to Bad Company, Free & The Firm Brunch by Rodgers & Co., Oct. 13; Josh Rouse, Oct. 13; CSNY Brunch with Long Time Gone, Oct. 13; Roger Clyne & The Peacemakers, Oct. 16; Tom Petty Brunch with Shadow Of Doubt, Oct. 20; Carbon Leaf, Oct. 20; Hey Monea, Pete Muller & The Kindred Souls, Oct. 23; Brown Eyed Women (all-female tribute to The Grateful Dead), Oct. 24; Drag Bingo Halloween Party with Veranda L’ Ni & Friends, Oct. 26; The Cars Brunch with Moving In Stereo, Oct. 27; Parker Millsap + Nat Myers, Oct. 27; Dave Alvin & Jimmie Dale Gilmore with The Guilty Ones, Oct. 31; Carlos Jones+ // The Ark Band, Nov. 1; The Dave Matthews Tribute Band, Nov. 2; Marquee Productions Talent “Spooktacular” Showcase, a benefit for St. Jude’s Children’s Research Hospital, Nov. 10; The Music of Simon & Garfunkel by Swearingen & Kelli, Nov. 14; Shemekia Copeland, Nov. 14; Maura Rogers & The Bellows/Doug McKean & The Stuntmen Nov. 16; Blues Brunch with Travis Haddix, Nov. 17; The Trouble Notes, Nov. 17; Journey tribute by E5C4P3, Nov. 29; Tab Benoit, Dec. 5; Christmas In The Heartland, featuring, the music of Michael Stanley Band by In the Heartland (UH Rainbow Babies & Children’s Hospital Fundraiser), Dec. 8; The Dreadnoughts, Winzige Hosen, Dec. 31. Call 216-242-1250 or visit musicboxcle.com.
Piano Cleveland: presents Cleveland International Piano Competition, through Aug. 10. Call 216-707-5397 or visit PianoCleveland.org.
Playhouse Square: 1501 Euclid Ave., Cleveland, presents Straight No Chaser, Dec. 13. Call 216-241-6000 or visit PlayhouseSquare.org.
Rabbit Run Community Arts Arts Association: 49 Park St., Madison, presents its Guest Artist Series, with performances at 7:30 p.m. at Rabbit Run Theater, 5648 W. Chapel Road, Madison Township — Steve Madewell and Friends, Aug. 13. Call 440-428-7092 or visit RabbitRun.org.
Roar along the Shore: a concert cruising Lake Erie aboard the Goodtime III featuring Chayla Hope and Wave Rowanne, will be 6:30 to 9:30 p.m. Aug. 7. Visit goodtimeiii.com/roar-along-the-shore.
Rock & Roll Hall of Fame and Museum: Cleveland, presents Biiitchseat, Sonder Bombs, Aug. 8; Gluttons, ASSAULT, Aug. 15; Midnight With Manimals, Aug. 17; Toby Raps, Rubix Groove, Aug. 22; Boys Like Girls, Aug. 23; LILEAE, songstress jo & the familiar, Aug. 28. Call 888-588-ROCK or visit rockhall.com.
Rocket Mortgage FieldHouse: 1 Center Court, Cleveland, presents Missy Elliott, Aug. 14; Jennifer Lopez, Aug. 20 (canceled); Nicki Minaj, Sept. 13; Jeff Lynne’s ELO, Sept. 14; $uicideboy$, Sept. 27; Twenty-One Pilots, Sept. 28; Peso Pluma, Oct. 9; The Black Keys, Oct. 12 (canceled); TobyMac, MercyMe, Zach Williams, Nov. 16; Creed, 3 Doors Down, Mammoth WVH, Nov. 22. Call 888-894-9422 or visit rocketmortgagefieldhouse.com.
Rockin’ on the River: at Lorain’s Black Water Landing, presents ZOSO: The Ultimate Led Zeppelin Experience, Paradise (Meat Loaf tribute), Aug. 2; Twist on Taylor (Taylor Swift tribute), Boy Band Review, Aug. 3; Bruce in the USA (Bruce Springsteen tribute), The Michael Weber Show, Aug. 9; Shot of Poison (Poison tribute), Midnight Blue: TheForeigner Experience, Aug. 16; Adrenalize: The Ultimate Def Leppard Experience, Moving in Steroe (tribute to The Cars), Aug. 23; Vegas McGraw (Tim McGraw tribute), Country Honk (1970s to 1990s country rock), Aug. 30; Guns 4 Roses (Guns N’ Roses tribute), Coop’s Nightmare: The Alice Cooper Experience, Sept. 6; The Four Horseman (Metalical tribute), Ravenwood (alternative rock), Sept. 13. Visit rockinontheriver.com.
Steele Mansion Inn & Gathering Hub: 348 Mentor Ave. Painesville, presents The Bogtrotters (Irish), Aug. 4. Call 440-639-7948 or visit SteeleMansion.com.
TempleLive Cleveland Masonic: 3615 3615 Euclid Ave., Cleveland, presents The Wonderlands, Aug. 17; Howard Jones & ABC, Haircut One Hundred, Aug. 31; “Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert,” Sept. 15; Reverend Horton Heet; The Lox, Sept. 28; The Sisters of Mercy, Oct. 25; Elle King, Nov. 8; Papadosio, Nov. 29 and 30; Juvenile, The 400 Degreez Band, Dec. 14. Visit templelive.com/cleveland.
The Treelawn Social Club & Music Hall: 15335 Waterloo Road, Cleveland, presents Freedom in Chains, Conversation, Aug. 2; Skip Werke and Local 420, Aug. 3; Waterloo Jazz Jam, Aug. 5; Emma G, Aug. 6; Tommy Womack, Aug. 8; Turn Turn Turn, Adam Levy, Aug. 9; Evy Liz, Aug. 10; Stix Trio, Aug. 13; Folk Implosion, Aug. 16; Rockside, Aug. 17; Stone Quillen Band, Aug. 22; Night Owl Country Band, Aug. 24; Velvet Nebula, Aug. 28; Mudhouse Gang, Aug. 30; Jonah Leatherman, Aug. 31; SkyWay 61, Guy and the Citizens, Sept. 6; Night Terrors, Sept. 7; Son of Mars, Sept. 8 Call 216-677-8733 or visit thetreelawn.com.
Tunes at the Lagoons: a concert series from the city of Mentor at the Mentor Lagoons, with performance from 7 to 9 p.m., presents Country Redford, Aug. 9; Cheeseburgers in Paradise, Aug. 23. Visit tunesatthelagoons.com.
Val Pawlowski Holiday Polka Dances: presents dances at at SNPJ Farm, 10946 Heath Road, Kirtland, featuring ethnic food and music — Labor Day dance, with Frank Stanger Band and Eddie Rodick Band, 1 to 7 p.m. Sept. 2. Call 330-318-3004.
Wade Oval Wednesdays: presents shows at 5:30 p.m. on Wade Oval, 10820 East Blvd., Cleveland — headliner: PCB Presents Cleveland Soul Kitchen (soul), pre-show: Val B. King, halftime: Crooked River Circus, Aug. 7; LGBTQ+ Pride — headliner: Apostle Jones (Covers), pre-show: Grumpy Plum, halftime: Pride Zumba with Linda Hogan, Aug. 14. Visit UniversityCircle.org.
Winchester Music Tavern: 12112 Madison Ave., Lakewood, presents Uncle John’s Band, featuring membersof INto the Blue and Sunshine Daydream, Aug. 2; Sassy Saturday Drag Brunch, Aug. 3; Reticulatus, Until the Dead Walk, Aug. 3. Call 216-600-5338 or visit thewinchestermusictavern.com.
Parks
Big Creek Park: 9160 Robinson Road, Chardon Township presents Nights Out in the Parks series, featuring music in the outdoor amphitheater behind Big Creek Park’s Donald W. Meyer Center at 7 p.m. — Hot Jazz Seven, Aug. 17. Call 440-286-9516 or visit geaugaparkdistrict.org.
Concerts & More at the Glen: a series from Lake Metroparks with performances at 7 p.m. at Penitentiary Glen Reservation in Kirtland, presents Stamper Starr (blues), Aug. 9; Swamp Rattlers (blues/rock), Aug. 23. Visit goto.lakemetroparks.com/concerts-at-the-glen.
Holden Arboretum: 9550 Sperry Road, Kirtland, presents “Pollinator Express,” an immersive exhibit is built from natural and botanical materials, through Sept. 8. Visit holdenarb.org.
Observatory Park: 10610 Clay St., Montville Township, presents outdoor movie night — Migration (G), Aug. 3. Call 440-286-9516 or visit geaugaparkdistrict.org.
Penitentiary Glen Reservation: 8668 Kirtland-Chardon Road, Kirtland, presents Super Star Party: Cosmic Mysteries, which promises “investigation into some of our galaxy’s most perplexing questions — What is dark matter? Are black holes real? Do aliens exist?” and will feature “a variety of engaging activities — indoor planetarium shows, stargazing, guided night hikes, astronomical presentations and more,” 7 to 11 p.m. Aug. 10. Call 440-256-1404 or visit lakemetroparks.com/parks-trails/penitentiary-glen-reservation.
Theater
Beck Center for the Arts: 17801 Detroit Ave., Lakewood, presents “Beautiful, the Carole King Musical,” with book by Douglas McGrath and music by Stephen Flaherty, through Aug. 11 in Senney Theater. Call 216-521-2540 or visit beckcenter.org.
Blank Canvas Theatre: 1305 W. 78th St., Suite 211, Cleveland, presents “Groundhog Day: The Musical,” 8 p.m. Thursdays, Fridays and Saturdays and 7 p.m. Sundays through Aug. 3. Call 440-941-0458 or visit BlankCanvasTheatre.com.
Broadway in Akron: a series at E.J. Thomas Hall in conjunction with Playhouse Square, presents “Tina: The Tina Turner Musical,” Sept. 24 and 25; “Dear Evan Hansen,” Nov. 12 and 13; “Hadestown,” Feb. 22; “Come From Away, March 25 and 26. Call 330-253-2488 or visit broadwayinakron.com.
Cain Park: Superior Road between Lee and South Taylor roads, Cleveland Heights, presents its 2024 Alma Theater season — A View from the Bridge,” Sept. 5 through 15. Call 216-371-3000 or visit CainPark.com.
Chagrin Valley Little Theatre: 40 River St., Chagrin Falls, presents ”The Prom,” through Aug. 10; “Murder by the Falls,” Sept. 6 and 7. Call 440-247-8955 or visit CVLT.org.
Cleveland Play House: Performing at Playhouse Square, presents “Pride and Prejudice,” Sept. 6 through 29 in the Allen Theatre; “What the Constitution Means to Me,” Oct. 12 through Nov. 3 in the Outcalt Theatre; “A Christmas Story,” Nov. 30 through Dec. 22 in the Allen Theatre; “Fat Ham,” Feb. 1 through 23 in the Allen Theatre; “King James,” March 1 through 23 in the Outcalt Theatre; “Fiddler on the Roof,” May 3 through June 1 2025 in the Allen Theatre. Call 216-241-6000 or visit clevelandplayhouse.com.
Cleveland Public Theatre: 6415 Detroit Ave., Cleveland, presents “Pandemonium 2024,” CPT benefit, Sept. 7. Call 216-631-2727 or visit cptonline.org.
Cleveland Shakespeare Festival: presents “King Lear” — 7 p.m. Aug. 2, Lakewood Park, 14532 Lake Ave. | 7 p.m. Aug. 3, James A. Garfield Historic Site, 8095 Mentor Ave., Mentor | 4 p.m. Aug. 4, Lincoln Park, 1200 Starkweather Ave., Cleveland. Visit cleveshakes.org or call 440-794-ICSF.
convergence-continuum: 2438 Scranton Road, Cleveland, presents “Speech & Debate,” by Stephne Karam, Aug. 2 through 24 (8 p.m. Thursday through Saturday) in the Liminis Theatre. Call 216-687-0074 or visit convergence-continuum.org.
Curtain 440: presents “The Wizard of Oz,” 7:30 p.m. Fridays and Saturdays and 3 p.m. Sundays through Aug. 11 at Berkshire High School, 14155 Claridon Troy Road, Burton. Visit Curtain440.com.
Dobama Theatre: 2340 Lee Road, Cleveland Heights, presents “Potus,” by Selina Fillinger, Oct. 4 through 27; “Peter/Wendy,” by Jeremy Bloom, Dec. 6 through 29; “The Hot Wing King,” by Katori Hall, Jan. 24 through Feb. 16; “The Wolves,” by Sara Delappe,” March 7 through 30; “Rust,” by George Brant,” April 25 through May 18. Call 216-932-3396 or visit dobama.org.
French Creek Theatre: Pijor Hall, located within the French Creek Nature & Arts Center, Sheffield Village, presents “High School Musical Jr. (French Creek Youth Theatre Camp production), 7:30 p.m. Fridays and Saturdays and 2 p.m. Sundays through Aug. 4. Call 440-949-5200, ext. 221 or visit metroparks.cc/theatre.php.
Great Lakes Theater: performing at the Hanna Theatre at Playhouse Square in Cleveland, presents “Into the Woods,” Sept. 27 through Nov. 10; “A Midsummer Night’s Dream,” Oct. 4 through 27; “A Christmas Carol,” Nov. 23 through Dec. 22 in the Mimi Ohio Theatre; “Peter and the Starcatcher,” Feb. 7 through March 2; “Twelfth Night,” March 21 through April 6; “Noises Off,” April 25 through May 18. Call 216-241-6000 or visit greatlakestheater.org.
Lorain Palace Theatre: 617 Broadway, Lorain, presents “Saw the Musical: The Unauthorized Parody of Saw,” Aug. 17. Call 440-245-2323 or visit lorainpalace.com.
Playhouse Square: 1501 Euclid Ave., Cleveland, presents “MJ the Musical,” through Aug. 11; “Come From Away,” Aug. 13 through 18; “Les Miserables,” Sept. 18 through 22; “A Beautiful Noise,” Oct. 8 through 2; “Mean Girls,” Oct. 29 through Nov. 3; “Some Like It Hot,” Nov. 5 through 24; “Life of Pi,” Jan. 7 through 26; “Parade” (Feb. 4 through 23; “& Juliet,” March 4 through 23; “Shucked,” April 22 through May 11; and Kimberly Akimbo, July 15 through Aug. 3, 2025. Call 216-241-6000 or visit PlayhouseSquare.org.
Porthouse Theatre: 3143 O’Neil Road, Cuyahoga Falls, presents “Annie,” through Aug. 4. Call 330-672-3884 or visit PorthouseTheatre.com.
Rabbit Run Theater: 5648 W. Chapel Road, Madison Township, presents “Clue: On Stage,” 7:30 p.m. Aug. 2 through 4, 8 through 11, 15 through 18 and 22 through 24. Call 440-428-7092 or visit RabbitRun.org.
Misc.
Agora Theatre & Ballroom: 5000 Euclid Ave., Cleveland, presents “Sami Zayn & Friends Do Cleveland,” Aug. 2; Damian Priest, Aug. 2; Undertaker: “1deadMAN Show,” Aug. 3; “Ghost Files Live!,” Sept. 23. Visit AgoraCleveland.com.
AIA Cleveland Sand Fest: will be Aug. 3 at Edgewater Beach, 6500 Cleveland Memorial Shoreway. Visit aiacleveland.com/sandfest.
Akron Civic Theatre: 182 S. Main St., presents Rock the Civic Gala, a musical benefit featuring Donnie Iris and The Cruisers and opener Jonah Koslen, Aug. 16; Helen Hunt conversation following a screening of “Twister,” Sept. 28; Dan and Phil, Oct. 29. Visit AkronCivic.com.
Beachland Ballroom: 15711 Waterloo Road, Cleveland, presents the Beachland Flea Market, Aug. 3. Call 216-383-1124 or visit beachlandballroom.com.
Chefs Unbridled: the annual fundraiser for Fieldstone Farm’s programs for people with special needs, featuring cooking demonstration stations with chefs from Driftwood Hospitality, Flour, The Last Page and Hook and Hoof., food truck service, cocktails, a wine pull live music, carriage rides around Gates Mills and more, will be held at 6 p.m. Sept. 7 at the Chagrin Valley Hunt Club Polo Field, 620 Old Mills Road, Gates Mills. Visit fieldstonefarm.org/support-us/chefs-unbridled.
Cleveland Beer Week: presents Barnyard Beer Bash, which will support local charities and the national nonprofit Ales for ALS, 5 to 10 p.m. Aug. 3 at Frog Valley Farm, 5484 Center Road, Valley City. Visit clevelandbeerweek.org.
Cleveland Browns Stadium: 100 Alfred Lerner Way, Cleveland, presents WWE SummerSlam, Aug. 3. Visit clevelandbrownsstadium.com.
Cleveland Metroparks Zoo: 3900 Wildlife Way, Cleveland, presents Dino Cove, featuring 25 animatronic dinosaurs, through October; Asian Lantern Festival, an after-dark affair featuring live acrobatic performances every hour on the Fifth Third Bank Stage and a variety of culturally-inspired cuisine at the MetroHealth Asian Food Market, through Aug. 25. Call 216-661-6500 or visit clemetzoo.com.
Cleveland Museum of Natural History: 1 Wade Oval Drive, University Circle, presents Meteor Appreciation Day,” noon to 2 p.m. Aug. 4. Call 216-231-1177 or 800-317-9155 or visit cmnh.org.
Cleveland National Air Show: featuring headliners the U.S. Navy Blue Angels, will be Aug. 31 through Sept. 2 at Burke Lakefront Airport. Call 216-781-0747 or visit ClevelandAirShow.com.
Cleveland Taco Fest: featuring tacos, activities, music and more, will be Aug. 30 through Sept. 2 at Jacobs Pavilion. Visit tacofestcle.com.
Crawford Auto-Aviation Museum: 10825 East Blvd., Cleveland, presents “Cleveland National Air Races: Speedway of the Skies,” through Sept. 30; “Corvair: The American Porche?,” through Sept. 30. Visit thecrawfordmuseum.org.
Cuyahoga County Public Library: presents Brad Thor (“Shadow of Doubt), 7 p.m. Aug. 7, Parma Snow Branch. Visit cuyahogalibrary.org.
The Fest: Northeast Ohio’s largest outdoor Christian music and family festival, presented by the Catholic Diocese of Cleveland and featuring Christian musical acts Casting Crowns, We the Kingdom, Cochren & Co. and Caleb & John, will be Aug. 4 at the Center for Pastoral Leadership, 28700 Euclid Ave., Wickliffe. Visit TheFest.us.
FireFish Arts: presents FireFish Festival, Sept. 21. Visit FireFishFestival.com.
Friends of WomenSafe: the fundraising arm of WomenSafe Inc., a shelter for victims of domestic violence serving Lake, Geauga and Cuyahoga counties, presents Boots, Barrels & Glitz gala, featuring buffet dinner, live music, signature drinks, auction prizes, a long-putt challenge and more, 5:30 p.m. Aug. 5 at The Basil Place, 13271 Bass Lake Road, Chardon. Email atfowsinc@icloud.com or call 440-285-3741.
Goodyear Theater: 1201 E. Market St., Akron, presents Nurse Black, Nov. 17. Call 330-690-2307 or visit goodyeartheater.com.
Great Lakes Science Center: 601 Erieside Ave., Cleveland, presents TapeScape: International Tape Station, through Sept. 2 free admission days — Aug. 4 and 18. Call 216-694-2000 or visit greatscience.com.
Greater Cleveland Aquarium: 2000 Sycamore St., Cleveland, presents Fin Fest, a celebration of sharks and stingrays with scuba diver taks, feedings, videos, activities and more, through Aug. 6. Call 216-862-8803 or visit GreaterClevelandAquarium.com.
House of Blues: 308 Euclid Ave., Cleveland, presents Magic Men Australia, Aug. 21. Visit houseofblues.com/Cleveland.
Humble Design Cleveland Welcome Home Cleveland: the organizations’s third annual fundraising event, will be 6 to 9 p.m. Sept. 26 at their warehouse 29050 Aurora Road, Solon. Visit humbledesign.ejoinme.org/2024CleWelcomeHome.
IngenuityFest: presents IngenuityFest 2024: Era of Ascent, Sept. 27 through 29 at Ingenuity Labs at the Hamilton Collaborative, 5401 Hamilton Ave., Cleveland. Visit ingenuitycleveland.org.
Jacobs Pavilion: Nautica Entertainment Complex, West Bank of the Flats, Cleveland, presents Caged Thunder MMA, Aug. 17. Visit bit.ly/axs-jacobs.
Loganberry Books: 13015 Larchmere Blvd., Shaker Heights, presents Plum City Reading: Jason Koo & Zach Meisel, Aug. 5; Author Alley, featuring dozens of local authors, noon to 4 p.m. Aug. 10 and 11. Call 216-795-9800, visit LoganberryBooks.com or email books@logan.com.
Lorain Palace Theatre: 617 Broadway, Lorain, presents “The Wizard of Oz,” Aug. 18; “Matilda,” Aug. 18: “Justice League,” Sept. 1; Stephen King’s “Maximum Overdrive” with a performance by Dirty Deeds, Sept. 14. Call 440-245-2323 or visit lorainpalace.com.
Maltz Museum of Jewish Heritage: 2929 Richmond Road, Beachwood, presents “A Celebration of Family,” an exhibition celebrating the rich framework of families found in America that combines two collections with interactive children’s activities, “Growing Up Jewish – Art & Storytelling” and “Love Makes a Family: Portraits of LGBTQ+ People and Their Families,” through Sept. 1. Call 216-593-0575 or visit MaltzJewishMuseum.org.
Mentor CityFest: which the city bills as “Lake County’s largest festival,” will be Aug.16 and 17 at Mentor Civic Center Park. Visit MentorCityFest.com.
Mentor Cruise-In: featuring a wide range of vehicles, will be 10 a.m. to 2 p.m. Aug. 10 at the Mentor Civic Center Complex, 8500 Civic Center Blvd. Call 440-974-5735, email wildwood@cityofmentor.com or visit mentorcruisein.com.
MGM Northfield Park: 10777 Northfield Road, Northfield, presents “Matt Fraser: America’s Top Psychic Medium,” Oct. 5. Call 330-908-7625 or visit mgmnorthfieldpark.mgmresorts.com.
Music Box Supper Club: 1148 Main Ave., Cleveland, presents “Murder Mystery Party: The Interrogation Room,” by Get Away With Murder Inc., Sept. 13; Dinner and a Movie: “Pink Floyd Live at Pompeii,” Sept. 14; Mike Polk’s Twisted Takes on Historic CLE Photos, Sept. 18; Champions Awakened: A Tribute to the 1945 Buckeyes, The Baseball Heritage Museum Fundraiser, Sept. 20; A Night of Magic with Michael Kent, Oct. 18; A Night of Magic with David Anthony, Nov. 30. Call 216-242-1250 or visit musicboxcle.com.
Old Firehouse Winery: 5499 Lake Road E., Geneva-on-the-Lake, presents Phil Yan, 6 p.m. Aug. 2; Jonathan Browning, 2 p.m. Aug. 3; Tom Hook, 6 p.m. Aug. 3, West Side Steve, 3 p.m. Aug. 4; Lyle Heath, 6 p.m. Aug. 4; Tom Todd, Aug. 5; Jim Golen, Jim Golen. Call 440-466-9300 or visit OldFirehouseWinery.com.
Playhouse Square: Euclid Avenue, downtown Cleveland, presents RuPaul’s Drag Race All Stars LIVE, Sept. 7. Visit PlayhouseSquare.org.
Riverfest at Collision Bend Brewery: featuring music, artists, food and more, will be 11 a.m. to 7 p.m. Aug. 25 at Collision Bend’s Cleveland location, 1250 Old River Road. Visit bit.ly/rf-cb-2024 or call 216-273 7879.
Rock & Roll Hall of Fame and Museum: Cleveland, presents “Les Paul Thru the Lens, a traveling gallery of photos highlighting the life and career of Les Paul, “the inventor, musician and icon,” through Sept. 15; Rock the Block Community Days — Cleveland Cultural Fest, noon to 4 p.m. Aug. 10 | Believe in CLE Yoga, 6:30 p.m. Aug. 30 | Member Appreciation Day, Sept. 7 | Hispanic Heritage Month Celebration, noon to 4 p.m. Sept. 28; “Hopeless Museum,” a traveling roadshow featuring performances by artists from punk label Hopeless Reocrds and an exhibit dedicated to its 30th anniversary, Aug. 24 and 25. Call 888-588-ROCK or visit rockhall.com.
Rocket Mortgage FieldHouse: 1 Center Court, Cleveland, presents WWE “Friday Night Smackdown,” Aug. 2; Taste of Black Cleveland — The Food Showcase 6.0, Aug. 22;Hot Wheels Monster Trucks Live Glow Party, Sept. 6 and 7 (three shows); Gold Over America Tour, featuring gymnasts Simone Biles, Jade Carey, Jordan Chiles, Fred Richard and more, Oct. 27. Call 888-894-9422 or visit rocketmortgagefieldhouse.com.
Steele Mansion Inn & Gathering Hub: 348 Mentor Ave. Painesville, presents public guided tour, Aug. 6, Oct. 15 and Dec. 17. Call 440-639-7948 or visit SteeleMansion.com.
Taste of the Browns: an annual fundraiser for the Greater Cleveland Food Bank, will be Sept. 16 at Cleveland Browns Stadium. Call 216-739-2139 or visit GreaterClevelandFoodBank.org/Taste.
Vintage Ohio Wine Festival: with several wineries and four cideries being represented, along with food, music and crafters, will be noon to 9 p.m. Aug. 2 and 3 at Lake Metroparks Farmpark in Kirtland. Visit visitvintageohio.com.
Visible Voice Books: 2258 Professor Ave., Cleveland, presents Katie Tastrom (“A People’s Guide to Abolition and Disability Justice”), 3 p.m. Aug. 10; Dr. Donna J. Nicol (“Black Woman on Board”), 2 p.m. Aug. 17. Visit VisibleVoiceBooks.com or call 216-961-0084.
Wildwood Cultural Center: 7645 Little Mountain Road, Mentor, presents Plaid Sabbath, Aug. 7; Johnny Joo Artist Reception, Aug. 27. Call 440-974-5735, visit cityofmentor.com/wildwood-cultural-arts or email wildwood@cityofmentor.com.
William N. Skirball Writers Center Stage Series: with all events beginning at 7:30 p.m. at the Maltz Performing Arts Center, presents Julia Quinn (“Bridgerton” series), Sept. 17; Miranda July (“All Fours”), Oct. 28; Abraham Verghese (“The Covenant of Water”), Nov. 13; Shelby Van Pelt (“Remarkably Bright Creatures”), March 6; Kaveh Akbar (“Martyr!” and Tommy Orange (“Wandering Stars”), April 10; Erik Larson (“Demon of Unrest”), May 7. Visit bit.ly/wnswcss-23-24.
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Lessons and Chamber Music Full Course List
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MUS 101(F) LEC Listening to Music
The goals of this course are 1) to encourage active, critical, and comparative listening practices, and 2) to consider the functions of music as an embodied, social, and context-dependent phenomenon. We will encounter music from across history and the globe, engaging with examples from a wide range of musicians and musical traditions. Topics will include: political protest music, music in religious contexts, the relationship between music and text, performing gender in music, the meaning of authenticity in musical contexts, and the ethics of musical listening. Through a variety of specific case studies, we will seek to become discerning listeners while also thinking critically about music's capacities and limitations. [ more ]
Taught by: Sonja Wermager
Catalog details
MUS 102(F, S) LEC Introduction to Music Theory
The course presents an introduction to the materials and structures of music. Through a variety of applied and theoretical exercises and projects, students will develop an understanding of the elements of music (e.g. pitch, scales, triads, rhythm, meter, and their notation) and explore their combination and interaction in the larger-scale organization of works of classical, jazz and popular music (i.e. harmony, counterpoint, form, rhetoric). Practical musicianship skills will be developed through singing, keyboard, and rhythmic exercises in lecture, and through dictation and sight-singing exercises in a weekly aural-skills lab. [ more ]
MUS 103(F) LEC Music Theory and Musicianship I
Students in MUS 103 study some materials, structures, and procedures of tonal music, with a particular emphasis on subjects like tertian harmony, voice leading, counterpoint, rhythm, and form. Baroque chorales will serve as a central resource for this study, as will musical examples from a variety of times and places. Through a combination of keyboard harmony exercises, sight singing, dictation, analysis of musical scores, written exercises, and emulation composition projects, students will develop an intellectual, aural, and embodied understanding of tonal music. MUS 103 is designed for potential music majors and for students with prior experience interacting with notated music. Students should consult the music department website for information about music theory placement. [ more ]
Taught by: Zachary Wadsworth
Catalog details
MUS 104(S) LEC Music Theory and Musicianship I
Music 104 continues and expands the study of tonal music begun in Music 103, focusing particularly on counterpoint, seventh and ninth chords, larger musical forms, and chromatic harmony. The study of these topics is reinforced by musical analysis, written exercises, and emulation composition projects, as well as by applied musicianship work that includes exercises in sight singing, dictation, and keyboard harmony. MUS 104 is designed for potential music majors and for students with prior experience interacting with notated music. Students should consult the music department website for information about music theory placement. [ more ]
Taught by: Zachary Wadsworth
Catalog details
MUS 105 SEM Jazz Theory and Improvisation I
Last offered Spring 2024
The theory and application of basic harmonic structures and rhythmic language used in jazz performance. An introductory level course to the practice of jazz improvisation. Blues forms, modal compositions, diatonic progressions, secondary and substitute dominant chords, modulations. This is a performance practice course appropriate for students with basic skill on their instrument and some theoretical knowledge including all key signatures, major/minor keys and modes, intervals, triads and basic seventh chords and their functions within keys. Vocalists and drummers will be encouraged to study the piano; all students will complete jazz-specific piano and percussion lab assignments. Pianists, guitarists and bassists should be able to sight read chords on a jazz lead sheet. [ more ]
Taught by: Kris Allen
Catalog details
MUS 106(S) SEM Skills for Singing
Skills for Singing is a course designed for students who wish to develop their skills in vocal technique and reading music. Students will be given an introduction to vocal technique and physiology through vocalises, repertoire, analysis, and studio class sessions. They will engage in group singing and solo presentation in a collaborative, master-class setting. They will also build knowledge of western music notation through basic music theory, score-reading, and sight-singing. Upon completion of the class, interested students will have established the foundational skills necessary to sing more confidently in both solo and ensemble environments. [ more ]
Taught by: Anna Lenti
Catalog details
MUS 110 SEM Electronic Music Genres, a Creative Approach
Last offered Spring 2024
In this course, students will study the theoretical and practical fundamentals of audio technology, MIDI production, sound design, and interactive composition. Students are not required to have any background in Music Technology. We will start by covering the basics of Electronic Music but the class will move at a fast pace covering more advance subjects in a short period of time. We will go over concepts of Physics acoustic, MIDI (sequencing, etc), Sound editing, Digital Signal Processing Effects, Sound Synthesis, and Interactive electronic music composition using Ableton Live, Max4Live, as well as Max MSP for students to learn how to program their own virtual synthesizers and/ or algorithmic composition to create interactive music in real time. Electronic Music Composition is a central part of the class. Students can choose any aesthetic of their choice for the composition projects, since the the focus of the class is on teaching students the technological tools to create the music of their choice. Students will be encouraged to mix different styles of music creating fusion. [ more ]
MUS 111 LEC Music in Global Circulation
Last offered Fall 2023
This course introduces a variety of musical genres and practices from around the world, alongside a discussion of the processes and politics of their global circulation. Through learning about a combination of contemporary styles and longstanding musical traditions spanning a broad geographical range, students will develop a working knowledge of musical terms, concepts, and influential musicians. Beyond engaging with music's sound and structure, we will address its capacity to express personal and group identity, and its ability to both reflect and shape broader social ideas and circumstances. In particular, we will consider music's global circulation, and how its contents and meanings reflect those processes. Genres covered in the course vary intermittently but often include: "throat singing" genres in Tuva and Sardinia, Zimbabwean mbira and Chimurenga music, Argentine Tango, Ghanaian azonto and highlife, Balinese gamelan, and North Indian classical music. No prior musical training is required. [ more ]
Taught by: Corinna Campbell
Catalog details
MUS 112(S) LEC Musics of Asia
This course offers an introduction to the great diversity of Asian music. Our survey will span from East Asia (China, Korea, and Japan) to Southeast Asia (Thailand and Indonesia) to the Indian subcontinent, Central Asia (Tibet and Afghanistan), to the Middle East (Iran and the Arabian peninsula), and will end with the extension of Asian music across North Africa and into Eastern Europe. Within this broad survey, we will focus on selected and representative musical cultures and genres. In each section of the course, aspects of cultural context (including music's function in religious life and its relationship to the other arts), will be emphasized. While our focus will be on the traditional and classical musics of these cultures, we will also consider the current musical scene. Encounters with this music will include attendance at live performances when possible. [ more ]
MUS 118 LEC Hearing Race in America, 1890-1955
Last offered Spring 2022
The rise of Rock 'n' Roll in the mid-1950s has typically been viewed as a temporary confluence in American culture, suggesting possibilities for musical and racial integration even as various forms of appropriation and exclusion were perpetuated. This course will explore the earlier multiple musical streams that merged at this moment. We will start by engaging with contemporary and historical perspectives on race, adopting a radically interdisciplinary approach. Our focus will then be on several of the most prominent vernacular and commercial forms of American music during this period: ragtime, blues, early jazz, rhythm and blues, Tin Pan Alley, country and western, bluegrass, Tex-Mex/Tejano conjunto, "Latin jazz," and Cajun/zydeco. Prior to the 1950s, these musical styles were segregated, at least in terms of production and marketing. How did racial assumptions and histories shape the creation, dissemination, and reception of this music? Can we hear the multiple ways in which race played out in American music in the first half of the twentieth century? [ more ]
MUS 119(F) LEC Rock and Roll Revolutions, 1950-1999
This course will trace the history of rock music from the 1950s to the end of the 20th century, focusing on those musicians who revolutionized the genre in various periods. Such "revolutions" are discovered in the use of new sounds and musical forms, in the relationship between lyrics and musical setting, and in the conception of rock's role in society. Three objectives will underpin our studies: to develop listening skills with music that one often hears, but perhaps rarely listens to intently; to determine in what ways popular music can be interpreted as reflecting and shaping its cultural context, particularly in terms of race and gender; and to encounter the work of several of the more innovative musicians in the history of rock. [ more ]
MUS 120 LEC Musics of Africa
Last offered Fall 2023
This course introduces musical traditions spanning the geographical breadth of continental Africa. We will prioritize hands-on experience and musical practice, critical listening, and deep social and political contextualization as strategies of musical engagement. Following an introductory exploration of overarching aesthetic and social trends in African musical practice, the course will then focus on 3-4 geographically rooted case studies, allowing us to discuss how different musical practices and subcultures (featuring traditional, contemporary, and popular forms) interrelate in a musical soundscape. The geographical focus of the case studies may vary but previous case studies have included: Ghana, Zimbabwe, Ethiopia, Egypt, Mali and the Democratic Republic of Congo. [ more ]
Taught by: Corinna Campbell
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MUS 125(F) SEM Music and Social Dance in Latin America
This course offers a full-spectrum introduction to a number of Latin American social dance forms, including samba, salsa, tango, and the Suriname Maroon genre, awasa. Through critical listening and viewing assignments, performance workshops, and readings from disciplines spanning ethnomusicology, anthropology, dance studies, Latin American studies and history, students will combine a technical understanding of the musical and choreographic features of these genres with a consideration of their broader contexts and social impact. Among the questions that will drive class discussions are: How do sound and movement interrelate? What aspects of gender, sexuality, class, race and ethnicity arise in the performance and consumption of Latin American genres of social dance? How do high political, economic, and personal stakes emerge through activities more commonly associated with play and leisure? This class is driven by academic inquiry into these various social dance practices; it does not prioritize gaining performance skills in the genres discussed. While there will be experiential components included throughout the course (for instance music or dance workshops), the majority of the class will be conducted in a discussion/seminar format. While the ability to read musical notation is helpful, it is not required. [ more ]
Taught by: Corinna Campbell
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MUS 133(S) SEM Musics of the Spanish Colonial Empire, ca. 1500-1800
With territories around the globe from the Americas to the Philippines to portions of Western Europe, the Spanish colonial empire was, at its height, one of the largest and most expansive in history. This course explores the myriad ways in which Spanish colonial powers influenced, interacted with, and reacted to the musical cultures of the colonized and how indigenous and/or colonized peoples persisted in asserting their musical voices over the course of several centuries--from the time of the Spanish arrival in the Americas (as well as southern Italy and the East Indies) during the fifteenth and sixteenth centuries to the empire's eventual decline in the nineteenth century. We will begin by defining the concepts of "colonialism" and "imperialism" in order to understand how such political and socio-economic power structures developed and attempted to exert control and influence over subjugated populations--and consequently over their music. From there, we will investigate some of the musical developments and repertories that resulted from these efforts through a series of modules on various territories colonized by Spain, including the Spanish territories of Naples/southern Italy, New Spain, and the Philippines. Coursework will include discussion-based and written responses to weekly readings and listening assignments and small group presentations on a Spanish colonized space not covered in one of the central course modules. The ability to read musical notation is not required. [ more ]
Taught by: Elizabeth Elmi
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MUS 141 LEC Opera
Last offered Fall 2023
An introduction to the history of opera, from the genre's birth c. 1600 to the present. At various points in its 400-year development, opera has been considered the highest synthesis of the arts, a vehicle for the social elite, or a form of popular entertainment. Opera's position in European cultural history will be a primary focus of our inquiry. We will also study the intriguing relationship between text and music, aspects of performance and production, and the artistic and social conventions of the operatic world. The multidimensional nature of opera invites a variety of analytical and critical perspectives, including those of music analysis, literary studies, feminist interpretations, and political and sociological approaches. Works to be considered include operas by Monteverdi, Lully, Charpentier, Handel, Gluck, Mozart, Rossini, Donizetti, Verdi, Wagner, Bizet, Puccini, Strauss, Berg, Britten, Glass, and Adams. [ more ]
MUS 143 LEC The Symphony
Last offered Fall 2022
This course traces the European symphonic tradition from the late eighteenth century through the mid-twentieth century, focusing on works by Mozart, Haydn, Beethoven, Berlioz, Liszt, Mendelssohn, Schumann, Brahms, Dvorak, Mahler, Strauss, and Shostakovich. We will examine developments in musical form and harmony, social contexts for listening, and contemporary aesthetic debates about the nature of genius, the idea of musical tradition, and the narrative capacity of instrumental music. [ more ]
Taught by: Benjamin Ory
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MUS 146 LEC The Concerto: Dialogue and Discord
Last offered Spring 2016
The concerto is the musical genre most akin to the novel, and like the novel, explores the individual's relationship to society. A musical protagonist--a solo instrumentalist or a group of individual players--engages the larger orchestral ensemble, and a story unfolds in a dramatic narrative told in sound. This course will trace the history of the concerto from its beginning in the Baroque period to today. We will explore the spirited exchanges of Bach's Brandenburg Concerti, the urbane conversations of Mozart's piano concerti, the impassioned struggles of the Brahms violin concerto, the ferocious arguments of the Shostakovitch cello concerto, the polyglot discussions of John Adam's clarinet concerto, and many more. Along the way we will also investigate transformations in patronage and performance contexts, the cult of the virtuoso, and aspects of musical form and style. Students will experience the excitement of hearing concerti performed on campus by the Berkshire Symphony and student winners of the Department of Music's Concerto Competition. [ more ]
MUS 149(F) LEC The Language of Film Music
Filmmakers have relied on music from the earliest days of silent movies (often accompanied by live musical performance) to our present age of slickly-produced online video. Along the way, trends have arisen (and have been artfully thwarted) in countless film scores, whether constructed from preexisting works or specially crafted by composers like Max Steiner, Duke Ellington, Bernard Herrmann, John Williams, James Horner, Mica Levi, or Björk. In this class, we will look at and listen to films from different times and places, observing which techniques evolved, which have changed very little, and considering when an idea is borrowed and when it might actually be new. We will also discuss the impact this language has on the experience of the viewer, and how film music functions in the wider culture. Assignments will consist of listening/viewing, responding in writing, and re-interpreting film clips with music you will compose or borrow. [ more ]
Taught by: Zachary Wadsworth
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MUS 150 LEC The Broadway Musical
Last offered Spring 2024
Named for a specific road but enjoying a global impact, the Broadway musical has intersected with multiple styles and societal concerns over the past century. In this course, we explore the American musical theater's roots and relationship to opera, operetta, vaudeville, minstrelsy, and Tin Pan Alley. Traveling through the genre's history, we will encounter a wide range of musical styles, including ragtime, jazz, rock, and hip hop, and will explore several genre transformations, such as movies made into musicals and musicals into movies. We will develop a range of analytical skills as we investigate connections between choreography, lyrics, music, staging, and production. Throughout the semester, we will consider the genre's representations and reflections of ethnicity, race, sexuality, and class. The syllabus includes representative works by Gilbert and Sullivan, Cohan, Gershwin, Kern, Weill, Rodgers and Hammerstein, Lerner and Loewe, Bernstein, Sondheim, Lloyd Webber, Tesori, and Miranda, with particular focus on such works as Showboat, Oklahoma!, Guys and Dolls, West Side Story, Hair, Rent, and Hamilton. [ more ]
MUS 151(S) LEC History of Jazz
"There are only three things that America will be remembered for 200 years from now when they study the civilization: The Constitution, Jazz Music and Baseball. These are the three most beautiful things this culture's ever created."--(Gerald Early) Jazz is the most common name for a great African American Art form that still defies definition. Over the past century this elastic tradition has laid down firm roots for numerous other American and World musics, while itself in the throes of a seemingly permanent identity crisis. Jazz is perennially declared dead or dying yet consistently summoned by advertisers to lend vitality and sex appeal to liquor or automobiles. By any name and regardless of its health status, jazz has a rich history of conservative innovators, at once restless and reverent, who made fascinating leaps of creativity out of inspiration or necessity. This "listening intensive" class will look at the past century of jazz music through ideas, "what-if" questions and movements that changed the way the music was created, presented and perceived. Both musical concepts (such as syncopation and cross instrumental-influence) and cultural connections (racial, technological and economic) will be examined, giving us freedom to link similar kinds of musical thought across disparate settings and decades. Our inquiry will include (but not be limited to) the lives and music of Louis Armstrong, Fletcher Henderson, Mary Lou Williams, Duke Ellington, Charlie Parker, Thelonious Monk, Dizzy Gillespie, Art Blakey, John Lewis, Miles Davis, John Coltrane, and Wayne Shorter. [ more ]
Taught by: Kris Allen
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MUS 165 LEC Mozart
Last offered Fall 2023
This course will examine the extraordinary life and musical genius of Wolfgang Amadeus Mozart. Through lectures, discussion, readings, and guided listening, students will gain appreciation of Mozart's classical compositional style and familiarity with many of his greatest works. Among the topics we will explore are Mozart's pivotal position as a musician in Viennese society; his childlike nature and exquisite artistry; his relationship with his domineering father Leopold; his ties to Haydn and Beethoven; and the myths about Mozart, including that he was murdered by Salieri, that arose in the over two centuries since his death. [ more ]
Taught by: Marjorie Hirsch
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MUS 166 LEC Beethoven
Last offered Spring 2022
This course provides an introduction to the life and music of Ludwig van Beethoven. The composer's difficult childhood, loss of hearing, secret affair with his "Immortal Beloved," tempestuous relationship with his suicidal nephew, along with political, philosophical, social, and cultural developments of the late 18th and early 19th centuries, will provide context for our study of his artistic achievements. Students will listen to a broad selection of Beethoven's music, including sonatas, string quartets, symphonies, overtures, concertos, choral works, and opera. Some of the topics we will discuss include the nature of his genius, his compositional methods, his influence on later composers such as Schubert, Wagner, and Brahms, Beethoven in popular culture, and the continuing impact of his music around the globe. [ more ]
MUS 172 SEM Early Modern Music and Spectacle
Last offered Fall 2023
Nuns, shepherds, demi-gods, tyrants, warriors, angels, and saints. No matter what story you tell, spectacle is never just spectacle. Whether in an opera, a pageant, or a comic play, the costumes, stage machinery, and visual effects are deeply encoded with political, religious, and cultural meanings. In this course, we will explore how music and spectacle worked together to create complex layers of meaning in various cultural contexts throughout the late medieval and early modern world (ca. 1400-1750). In doing so, we will consider how the magnificent representations of aristocratic, imperial, and colonial power central to such dramatic performances reveal wider cultural issues of gender, race, and religion. The course structure will follow a series of thematic modules, each addressing several case studies, on topics such as colonial power, women and madness, religious fervor, political propaganda, and patronage. Each week, students will take an active role in analyzing, discussing, and presenting on these topics and their related case studies both in and outside of class. For the final project, students will work in groups to develop fictional podcast interviews between historical spectators of an early modern musical-dramatic performance of their choosing. The ability to read musical notation is not required [ more ]
Taught by: Elizabeth Elmi
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MUS 173(S) LEC Music, Medicine, and Madness
This class will explore intersections between medicine and music in Europe and the United States between 1750 and 1900, with particular attention to constructions of "madness" as a condition that could be triggered, treated, or expressed by music. Through focused readings, analysis of musical examples, and discussion, we will examine historical discourses concerning music's ability to influence the mind and body--and through this examination gain perspective on current discussions of both mental and physical health. Topics will include the "mad scene" trope in 19th-century opera, the idea of the suffering genius composer, the history of music as medical treatment, and how factors like race, gender, and ability shaped understandings of musical achievement and medical diagnosis. [ more ]
Taught by: Sonja Wermager
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MUS 176(F) LEC Protest Song
What's in a song? And how might it connect to our disparate cultures, politics, and identities? Throughout history, the genre of song has been a compelling mode of self-expression. It encodes specific elements of identity, emotion, history, and culture by combining the power of lyric poetry with that of the human voice. It is no wonder, then, that it has also functioned as a primary vehicle for expressions of political resistance, protest, and dissent within a range of socio-cultural movements around the world. In this course, we will consider the fundamental question of what makes a song a protest song. We will begin by defining key ideas of resistance and protest within music more broadly. We will then go on to consider what kinds of socio-political meaning can be encoded within a song through its lyrics, musical composition, and performance style. To that end, the class will spend the semester investigating a series of case studies from around the world in historical context, including examples from southern Italy, Mexico, South Korea, Egypt, Ireland, South Africa, and the United States. Examples will include songs by well-known figures such as Big Mama Thornton, Janis Joplin, Kendrick Lamar, Bob Dylan, Umm Kulthum, and Roberto Murolo, as well as anonymous examples from traditions like the Mexican son jarocho, African American spiritual, Irish rebel song, classic Neapolitan song, and South Korean protest song. In addition to weekly reading and listening assignments, students will spend the semester creating curated playlists of songs associated with socio-cultural movements of political protest, resistance, and/or dissent to be presented and discussed during the final week of class. [ more ]
Taught by: Elizabeth Elmi
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MUS 177 SEM Gender and Sexuality in Music
Last offered Spring 2024
This course explores key themes in the expression of gender and sexuality through music. It draws from primarily 21st century examples, across cultures and genres, ranging from pop boy bands to Indian bhangra dance to the musical avant-garde. Themes will include: communicating gendered ideals, dance and embodiment, transgressive performances, biography and subjectivity, intersectionality, music and sexual violence, and marketing. We will explore the ways that ideas and identities related to sex and gender are formulated and mobilized in music's performance and consumption. Inevitably, issues of sound and stagecraft intersect with factors such as race, age, and class, further informing these experiences. Students will consider their own processes of identifying and interpreting expressions of gender and sexuality in sound and movement, and contemplate the role of culture and society in informing those interpretations. [ more ]
Taught by: Corinna Campbell
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MUS 178 TUT Music and Politics
Last offered Fall 2016
This course examines how musical sound and musical discourse change, enable, and inhibit citizen formation and the functioning of a well-ordered society. We will take a very wide definition of "politics," as music can have political meaning and effects far beyond national anthems and propaganda. For instance, musical sound is often read as a metaphor for political structures: eighteenth-century commenters pointed out that string quartets mirrored reasoned, democratic discourse, and twentieth-century critics made similar arguments about free jazz. Beliefs about music can serve as a barometer for a society's non-musical anxieties: Viennese fin-de-siècle critics worried that the sounds and stories of Strauss's operas were causing moral decline, an argument that should be familiar to anyone who reads criticism of American popular music. Finally, a pervasive strand of Romantic thought holds that (good) music, by its nature, is apolitical-what might it mean to deny social relevance to an entire field of human expression? We will read classic philosophical texts on art and politics by Schiller, Kant, Schopenhauer, Marx, Adorno, and others, and pair them with contextual studies of works of Western classical music from the last two hundred years and popular music of the last hundred years. [ more ]
MUS 179(S) TUT James Baldwin's Song
"It is only in his music [. . .] that the Negro in America has been able to tell his story. It is a story which otherwise has yet to be told and which no American is prepared to hear," wrote James Baldwin in Notes of a Native Son in 1955. In this course, we strive to listen more closely to racialized experience through James Baldwin's musical literature. Through analysis and creation of music, we hope to better understand cultural difference and collective humanity. In this course, we closely analyze James Baldwin's use of song names, creation of musician characters, and replication of musical elements in his writing. Baldwin's musical word play crosses historical and genre boundaries. So we will explore texts from his early to late career, such as the gospel music of his youth in the semi-autobiographical novel Go Tell It on the Mountain, the metaphor of the blues in the play written during the civil-rights movement Blues for Mr. Charlie, the jazz musician protagonist in "Sonny's Blues" written after World War II in Paris, and his only musical recording in A Lover's Question set down near the end of his life. In addition to closely analyzing James Baldwin's attention to music throughout his literature, students will learn basic music writing and production skills. The tutorial will draw on a range of musical resources, including playlists, music workshops, guest lectures and performances. All of these resources will guide students to a more attuned hearing not only of music but also of the African American experience it reflects. By the end of the course, students will have written several short 1-2 page close analysis essays and song lyrics. For their final project, students will produce an original song based on key insights from the course. No musical experience is required, though an openness to learn and practice songwriting is expected. [ more ]
Taught by: Rashida Braggs
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MUS 183(F) LEC Stage Direction for Opera and Musical Theatre
The course provides an overview of the fundamentals of stage direction for opera and musical theatre. Students will develop an understanding of the basic principles of design and the process necessary for developing an approach to directing a production. They will explore the work of stage directors whose output has been particularly influential and learn about a variety of approaches to process and rehearsal technique. Repertoire studied will include a range of opera and musical theatre from the beginning of the form to its current trends and a broad variety of directorial approaches from traditional to concept productions. Students will complete the process of developing a concept/approach for a production with a title of their choosing. [ more ]
MUS 201(F) LEC Music Theory and Musicianship II
Music 201 continues to greater degrees the study of music techniques from the common practice period by means of analysis, composition, written exercises, sightsinging, and dictation. We will expand our understanding of chromaticism. We will learn how chromaticism is used as a voice-leading tool, and how it participates in music even at deeper levels of the structure. We will learn about innovations that occurred from the19th century through the beginning of the 20th century and will trace the origins for these new harmonic tendencies. We will also learn how composers create larger formal structures. [ more ]
MUS 202(S) LEC Music Theory and Musicianship II
Music 202 examines the materials and structures of atonal and post-tonal music from the 20th and 21st centuries, and it develops musicianship skills to aid in the perception and performance of these materials and structures. Topics include set theory, serial techniques, referential collections, post-tonal pitch centricity, new rhythmic and metric techniques, new formal structures, and the intersection of tonal and contextual structure. [ more ]
Taught by: Ed Gollin
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MUS 205(F, S) SEM Composition I
Beginning courses in musical composition. Size and number of required projects will vary from 3 to 5. A group meeting per week will deal with the presentation, performance, and critique of the student's work in progress, analysis of models for composition, and discussion of topics in composition. There will be a weekly individual meeting with the instructor to discuss each student's progress. Students must also be available for performances and reading of work outside normal class time, and the instructor and students will work together to ensure that all work written during the semester is heard/performed. [ more ]
MUS 206(F, S) SEM Composition II
Beginning courses in musical composition. Size and number of required assignments will vary from 3 to 5 in addition to a possible full semester composition project. A group meeting per week will deal with the presentation, performance, and critique of the student's work in progress, analysis of models for composition, and discussion of topics in composition. There will be a weekly individual meeting with the instructor to discuss each student's progress. Students must also be available for performances and reading of work outside normal class time, and the instructor and students will work together to ensure that all work written during the semester is actually heard/performed. [ more ]
MUS 210 LEC Music Technology I
Last offered Spring 2020
Designed for students with some music background who wish to learn basic principles of Musical Technology and practical use of current software and hardware. Topics include acoustics, MIDI sequencing, digital recording and editing, sampling, analog and digital synthesis, digital signal processing, and instrument design. Lectures will provide technical explanations on those topics covered in class and an historical overview of electronic music. [ more ]
MUS 211(F) SEM Music, Nationalism, and Popular Culture
This course surveys the manner, function, and contexts through which sound and ideas of national belonging are linked. We will consider influential and iconic musicians (e.g. Umm Kalthoum, Amalia Rodriguez, Bob Marley, Carlos Gardel), international forums for the expression of national sentiment (the Olympics, World Cup, and Eurovision competitions), and a wide range of instruments, genres, and anthems that are strong conduits for national sentiment. Drawing on the work of critical theorists including Benedict Anderson, Michael Herzfeld, and Homi K. Bhabha, we will pursue a number of analytical questions: What parallels exist between musical and political structure? How do nations adjust as their policies and demographics change? How are cultural forms implicated in postcolonial nation building projects? What marginal populations or expressive forms are included, excluded, or appropriated in the formation of national identity? Finally, what differences emerge as we change our focus from a national to an international perspective, or from officially endorsed representations of national culture to unofficial popular forms of entertainment? [ more ]
Taught by: Corinna Campbell
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MUS 214 SEM Divas and Dervishes: Introduction to Modern Arab Music and Performance
Last offered Spring 2024
From Sufi rituals to revolutionary uprisings, music has long played a central role in the social, political, and religious life of the Arab world. This is especially audible in the modern era, when new technologies and institutions began to record, amplify, and broadcast the region's sounds, preserving centuries-old traditions while also producing new forms of popular music. This course introduces students to Arab musical genres and practices as they developed from the late nineteenth century. We will cover a broad geographical range, exploring the classical Andalusian repertoires of Algeria, ecstatic dervish chants in Egypt, patriotic pop tunes from Lebanon, and other topics. To highlight connections between musical traditions as well as their unique local features, we will ask questions such as: What can music tell us about interactions between sacred and secular life? How is music used to define social groups and negotiate identity, gender, and class? Which musical characteristics are associated with Arab "heritage" and "modernity," and how are these performed? In what ways does music shape everyday life in the Arab world? Class sessions and discussion will be based on academic readings and at-home listening assignments. No previous knowledge of Arabic or Arab music are required. [ more ]
MUS 217(S) SEM Hip Hop Culture
The course examines how young people of color created hip hop culture in the postindustrial ruins of New York City, a movement that would eventually grow into a global cultural industry. Hip hop music producers have long practiced "diggin' in the crates"--a phrase that denotes searching through record collections to find material to sample. In this course, we will examine the material and technological history of hip hop culture, with particular attention to hip hop's tendency to sample, remix, mash-up, and repurpose existing media artifacts to create new works or art. We will use a media archaeological approach to examine the precise material conditions that first gave rise to graffiti art, deejaying, rapping, and breakdancing, and to analyze hip hop songs, videos, and films. Media archaeology is a critical and artistic practice that seeks to interpret the layers of significance embedded in cultural artifacts. How does hip hop archaeology remix the past, the present, and the future? How do the historical, political, and cultural coding of hip hop artifacts change as they increasingly become part of institutional collections, from newly established hip hop archives at Cornell and Harvard to the Smithsonian National Museum of African American History and Culture? [ more ]
Taught by: Brian Murphy
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MUS 220(F) STU African Dance and Percussion
We will examine two forms that embody continuity of tradition or the impact of societal, political or economic change. Lamban was created by the Djeli, popularly called Griots served many roles in the kingdoms of Ghana and Old Mali from the 12th century to current times. This dance and music form continues as folklore in modern day Guinea, Senegal, Mali and The Gambia where it is practiced by the Mandinka people. Bira is an ancient and contemporary spiritual practice of Zimbabwe's Shona people. While these forms are enduring cultural practices, Kpanlogo from the modern West African state of Ghana represents the post-colonial identity of this nation's youth and their aspirations for independence at the end of the 1950s. We will also consider the introduction of these forms outside of their origin. This course can be taken for academic and/or PE credit. [ more ]
MUS 221(S) STU African Dance and Percussion
Before the 20th century, the African continent was the source of dance and music that influenced new forms rooted on and off the continent. These forms are shaped by the impact of religion, colonialism, national political movements, travel, immigration, and the continuing emergence of technology. In South Africa, the labor conditions of miners instigated the creation of Isicathulo, Gum boots, and in Brazil the history of colonialism is a factor that anchors Samba as a sustaining cultural and socioeconomic force. The birth of Hip Hop in the 20th century finds populations across the globe using its music, dance, lyrics, and swagger as a vehicle for individual and group voice. Hip Hop thrives as a cultural presence in most countries of the African continent and in the Americas. We will examine the factors that moved this form from the Bronx, New York, to Johannesburg, South Africa, and Rio, Brazil. We will examine at least two of these forms learning dance and music technique and composition material that will inform their practice. Each of these genres generated physical practices, new and enduring communities while continuing to embody specific histories that have moved beyond their place of origin. What is their status in this century? [ more ]
MUS 222 SEM Politics of Performance/Performing Politics in Contemporary Africa
Last offered Fall 2019
Using select examples from throughout Africa, this course highlights genres, artists, and works that engage with social and ideological change. Students practice critical listening and performance analysis, while also considering the social contexts that render these performances meaningful and provocative. Topics include: challenges to mass mediated stereotypes of African populations, the social and economic impact of cultural tourism, music as a form of social critique, changing attitudes toward women and the LGBTQIA community, music and global aid organizations, issues of migration and displacement, and the changing roles of traditional musical occupations. Popular genres-among them Afrobeat, kwaito, soukous, raï, mbalax, Chimurenga music, and a variety of rap and hip-hop styles-are discussed alongside numerous traditional and ceremonial genres, national/political anthems, and concert pieces. Active participation in class discussion is an important component of this course. [ more ]
MUS 225 LEC Musics of the Caribbean
Last offered Spring 2017
From witty and politically charged calypsos to soulful bachatas, from folkloric displays that advertise a country's cultural diversity to ritual performances that facilitate communication with the spirit world, the music of the Caribbean is astonishingly diverse, both sonically and in its social application. This course serves as an introduction to a wide spectrum of Caribbean music in its broader social and historical context. Through engaging with audio and video sources, readings, performance exercises and workshops, students will learn to identify distinguishing features associated with particular countries and regions, while also exploring the sounds and musical structures that are shared between them. Featured genres include reggae, steel pan, calypso, zouk, Maroon music from Suriname and Jamaica, chutney, salsa, merengue and music from Haitian Vodu and Cuban Santería religions. Interlaced with discussion of musical genres and innovative musicians are a number of central questions about the social role of music within the region: How has slavery and colonial enterprise shaped the musical landscape of the Caribbean? How do the realms of sacred and secular performance relate to each other? What role does tourism and global circulation play in influencing musical tastes and practices? Finally, how do music and dance interconnect? [ more ]
MUS 230 LEC Musical Ethnography
Last offered Spring 2016
Music provides a constant accompaniment to most of our lives, from mundane activities to personal or collective moments of celebration and grief. Often, we experience music's impact on us without fully considering how it shapes our ideas and experiences. Drawing on ethnomusicology, anthropology, and related fields, this course explores how music can illuminate people's practices of being-in-the-world. Musical ethnography describes both the means by which scholars pursue this line of questioning, and also the written work that results from such an investigation. This course features a hands-on approach to musical ethnography. Students will each conduct ethnographic fieldwork in a musical community within Williamstown and the surrounding area. Coursework will survey approaches to methodology (modes and degrees of researcher involvement, practical skills related to documentation), issues of ethics, and social and musical analysis. [ more ]
MUS 231(F) LEC Music in History I: Music and Culture from Antiquity to 1750
This course explores over 1500 years of music-making in (and around) Europe and the Americas from antiquity to 1750 through an investigation of significant musical styles, forms, and theories in cultural and historical context. Our primary inquiry will be to consider how and why these musical styles and forms were created and circulated--through both oral performance and the written medium--by considering the major historical, cultural, technological, and aesthetic issues surrounding them. We will further contextualize these developments within a deeper consideration of the political, religious, racial, and gender-based interactions and divisions throughout history. In doing so, the course introduces the modern study of music history, sampling a broad range of recent scholarship reflecting an array of critical approaches to the study of early music in our own day. Weekly coursework will include readings on music historical topics, as well as listening and score analysis of key repertory in modern transcription. Assessments will take place throughout the semester through listening/score quizzes, exams, primary source presentations, and a research-based essay project focused on repertories and practices outside of the traditional musical canon. [ more ]
Taught by: Elizabeth Elmi
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MUS 232(S) LEC Music in History II: Classical and Romantic Music
MUS 232 traces the development of Western art music from 1750 to 1900. Through listening, reading, and score analysis, we will study a broad range of composers and genres, Classical and Romantic aesthetics, and connections between music and political, philosophical, social, and cultural developments of the period. Composers include Haydn, Mozart, Beethoven, Schubert, Robert Schumann, Clara Schumann, Fanny Mendelssohn Hensel, Berlioz, Chopin, Liszt, Verdi, Wagner, Brahms, Tchaikovsky, Mahler, and others. Some of the topics we will discuss include the changing role of composers in society, music's relationship to the other arts, challenges faced by female composers, controversies surrounding music and meaning, the interaction of music and drama in opera, and musical nationalism. [ more ]
Taught by: Sonja Wermager
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MUS 233(F) LEC Music in History III: Art Music Since 1900
A historical survey of European and American art music from the early twentieth century to the present. Encounters with this music often challenge our ears and musical minds and require us to reconsider fundamental conceptions of music itself. Throughout the course, we will pursue a contextual approach and will investigate this music in relation to contemporary developments in the other arts, to popular musical styles, and to global intersections. We will carefully consider the ways in which evolving conceptions of race, ethnicity, and gender shaped this music history. Topics and styles will include: modernism (atonal expressionism, twelve-tone techniques, neoclassicism); new technologies (electronic, multimedia, digital); the impact of jazz at home and abroad; American experimentalism; postmodernism (minimalism, neoromanticism); nationalism (Eastern European, Latin American, East Asian); and the impact of geopolitics on musical composition (totalitarianism; World War II; Cold War). [ more ]
MUS 234 LEC Soundscapes of Renaissance Europe
Last offered Fall 2022
What was the sonic experience of living in late-medieval and early-modern Europe? This course will explore the sights and sounds of daily life for cultural elites as well as the average urban resident. Although it is often vocal polyphony that first comes to mind when thinking about Renaissance music, acoustic environments were complex, noisy, and diverse. This course aims to reflect that heterogeneity: topics include bells, processions, music and architecture, instrumental music, plainchant, visual depictions of music-making, and uses of music to project power, as well as sacred and secular vocal polyphony. Students will zoom in on cities, courts, and churches, especially the musical centers of Bruges, Florence, Ferrara, the Imperial Court of Holy Roman Emperor Charles V, and Bavaria. The course will examine music by some of the most important composers of the era, including Guillaume Du Fay, Josquin des Prez, Philippe Verdelot, Nicolas Gombert, and Orlando di Lasso. [ more ]
Taught by: Benjamin Ory
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MUS 235 TUT Music in the Global Middle Ages, ca. 500-1500
Last offered Spring 2024
Spanning 1000 years, the period encompassing the Middle Ages (ca. 500-1500) was a time of experimentation, exploration, and growing interconnection around the world. From economic expansions to developing trade routes and from violent religious crusades to flourishing universities, cities, and courts, opportunities for cultural investment and exchange among regions in Western Europe, North Africa, and Central and East Asia were plentiful, if not always peaceful. In this seminar, we will consider how a global historical perspective shifts our understanding of music in the Middle Ages from one based on hegemonic European progress in isolation to one that reveals a multitude of influences, interactions, and interconnections among people of various cultures, races, and religions both within and outside of the European continent. In this tutorial, we will investigate a series of case studies in order to address how and where these global interconnections took place and what musical practices flourished as a result. We will give special consideration to the following topics: orality and literacy, race and difference, the politics of religion, economic power, and manuscript culture. In grappling with these topics, students will engage in weekly readings on musical and broader historical topics, listening and score analysis of key repertory in modern transcription, and study of original notation through manuscript facsimiles. [ more ]
Taught by: Elizabeth Elmi
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MUS 238(S) LEC Music in Modernism
The synthesis of the arts was a primary pursuit of modernist composers, artists, choreographers, and writers. Seeking either to realize Wagner's "total work of art" in the theater, or to uncover the more general correspondences celebrated by Baudelaire, modernists consistently looked beyond their own media. Collaborations on works of "total theater" were common: Satie, Cocteau, Massine, Picasso; Brecht, Hindemith, Weill; Stravinsky, Nijinsky, Bakst; Claudel, Honegger, Rubinstein. Modernists explored new connections between music and color (Scriabin, Kandinsky), music and literature (Joyce, Mann), and music and dance (Duncan, Graham). Occasionally, modernists attempted to unite the arts on their own: Schoenberg painted, Pound composed, and Kokoschka wrote. Our focus will be on those works of music, art, dance, and literature that explored new relationships between the arts. One goal will be to investigate whether specific equivalents exist between techniques of modernist painting, poetics, choreography, and composition. Aware of the risks and rewards of interdisciplinary study, we will attempt our own theories of artistic synthesis. This course is designed to bring multiple perspectives to the study of music in modernism. [ more ]
MUS 239 LEC Music in the Global Cold War
Last offered Spring 2024
Throughout the Cold War (1947-1991), music was deployed as a weapon, as a source of nationalist and ideological inspiration, as a form of political protest and resistance, and as propaganda. Music both echoed and helped shape political views and, therefore, prompted various forms of regulation and censorship (McCarthyism in the U.S.; the Union of Soviet Composers). To counter Soviet claims of American cultural inferiority and racism, the U.S. sponsored numerous musical diplomacy efforts showcasing both jazz (Armstrong; Ellington; Brubeck) and classical musicians and composers (Bernstein; American orchestras). Cold War politics and the threat of nuclear war influenced musical styles (Copland; Soviet Socialist Realism; the popular American folk music revival; serialism; rock behind the Iron Curtain), specific musical events (Tokyo East West Music Encounter; concerts celebrating the fall of the Berlin Wall), and individual careers (Shostakovich; Robeson; Van Cliburn). To investigate music's political roles and capacity for expressing communist and democratic capitalist ideologies, we will adopt a case study approach. The Cold War was a global political and, frequently, militaristic struggle. Though our focus will be on music in the U.S.S.R. and U.S.A., we will also consider musical developments impacted by the Cold War throughout Western and Eastern Europe, in Latin America, and in East Asia. [ more ]
MUS 241(F) LEC German Romantic Song
An emblem of Romanticism. A mainstay of recitals. A public performance of interior feeling. Why is it that the Lied, a short song for piano and solo voice, remains such an enduring musical genre? This course explores this question by focusing on the key repertoire and the history of German Romantic Lieder. We will begin by studying some of the most influential composers of German Lieder during the nineteenth century (including Franz Schubert, Clara and Robert Schumann, Johannes Brahms, Hugo Wolf, and Gustav Mahler), analyzing how these composers experimented with the interplay of music and text. We will also examine the social contexts in which Lieder were composed and performed, with particular attention to factors like gender and class. Finally, we will explore varied approaches to Lieder in contemporary performance culture in order to consider what the genre means for performers and audiences today. [ more ]
Taught by: Sonja Wermager
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MUS 250(F) SEM The Musical Language of Louis Armstrong
"You know you can't play anything on a horn that Louis hasn't played"- Miles Davis 1958 The study of jazz language inevitably involves back-scrolling through generations of progenitorial influence, and most of these paths lead back to Louis Daniel Armstrong 1901-1971. Arguably the most historically important musician in American and modern world history, Armstrong is widely credited as being responsible for popularizing the concept of the jazz "solo," as well as marrying the materials and performance traditions of the Blues and American popular song, and forever changing the aesthetic of vocal performance across a wide swath of Black American genres. By virtue of being so studied and imitated, his personal musical vocabulary as a trumpeter and vocalist can be seen to have informed all jazz music that followed in his wake, from stride piano and early big band arrangements to Parker, Davis, Coltrane etc. More than any other individual, his rhythmic language exemplifies the popular but definition-resistant language of "Swing." This listening and performance intensive seminar will be an opportunity for committed students of jazz music to absorb this language in a focused way. Seminar meetings are anchored by weekly transcription projects sung and played individually and collectively, informed by occasional lectures and readings from biographical, but also and especially Armstrong's own voluminous autobiographical writings. We will focus in particular on the "Rosetta Stone" of jazz recordings, the Hot Fives and Hot Sevens sessions of 1925-29, and in so doing also study the work of selected Armstrong collaborators of the period including Earl Hines, Johnny Dodds, Lil Hardin Armstrong and Kid Ory. We will also cover earlier periods of his career, with ensembles led by King Oliver and Fletcher Henderson, and study the work of other significant early jazz soloists who performed with and mutually evidenced influence on/by Armstrong including Sidney Bechet, Bessie Smith, Fats Waller, and Coleman Hawkins. [ more ]
Taught by: Kris Allen
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MUS 252 LEC Introduction to the Music of John Coltrane
Last offered Fall 2023
This course offers the serious music student an opportunity to study the unique body of work produced by saxophonist and composer John Coltrane (1926-1967). The course traces the evolution of Coltrane's compositional and performance styles in the context of the musical and cultural environment in which they developed. Emphasis placed on Coltrane's musical style, representing a unique synthesis of influences, including jazz, world, and European Classical music and spirituality. Substantial listening and reading assignments, including a biography and related criticism, as well as detailed score analysis and study, are required. [ more ]
Taught by: Kris Allen
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MUS 254 SEM Bebop: The (R)evolution of Modern Jazz
Last offered Spring 2023
In the 1940s, Jazz turned a corner, transitioning from the functional and popular music of the swing era to the increasingly complex art music known as bebop. The practitioners of this new sub-genre were seen not as showmen or entertainers, but (in the words of poet Ralph Ellison) as "frozen faced introverts, dedicated to chaos." This music was simultaneously old and new, a musical evolution interpreted through the lens of cultural revolution. This class will survey the lives, music and continuing impact of bebop's most pivotal figures: Charlie Parker, Thelonious Monk, Dizzy Gillespie, Bud Powell and Kenny Clarke among many others. Through score study, guided listening and performance, the class will examine the melodic, harmonic and rhythmic innovations associated with this pivotal era in jazz history. We will evaluate, compare and contrast examples of contemporary theoretical scholarship concerning this musical vocabulary and it's evolution. Intersections between the music and parallel artistic, social and political movements will also be addressed. [ more ]
Taught by: Kris Allen
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MUS 272 TUT Music and Meaning
Last offered Spring 2021
Nearly everyone finds music meaningful, but what exactly does it mean? Without the help of words, this largely non-referential art presents special challenges to interpretation. While most would agree that musical sounds can do such things as mimic the rumbling of thunder, evoke the countryside, suggest the act of chasing, or express rage, the capacity of music to convey meaning remains controversial among scholars, performers, and listeners. Some, following music critic Eduard Hanslick, assert that musical works are essentially "tonally moving forms"--patterns of sound with no reference to the world outside themselves; a work's meaning derives solely from the interplay of musical elements. Others counter that music can signify aspects of human experience, its sounds and structures not merely referring to the outside world but even relating complex narratives. Certain writers have argued that, without the assistance of language, what music signifies remains vague, while others insist that the meaning of music is actually more precise than that of words. In this tutorial course, we will explore a range of questions regarding musical meaning. How can combinations of pitches, rhythms, and instrumental timbres signify something beyond themselves? Is the subject of musical meaning more relevant to some historical styles or genres than others? How can we determine the meaning(s) of a work? Should we concentrate on formal processes within the music? Consider socially constructed meanings? Seek the composer's intentions? Emphasize our personal responses? What makes some interpretations more convincing than others? In grappling with these questions, students will engage with writings by Agawu, Cone, Hanslick, Kramer, Langer, Lewin, Newcomb, and Schopenhauer, among others. Music to be studied includes works by Beethoven, Schubert, Chopin, Brahms, Mahler, Tchaikovsky, Ravel, Stravinsky, Glass, and Adams. [ more ]
MUS 273 TUT Dangerous Music
Last offered Fall 2021
As a largely non-referential art whose meanings are far from transparent, music might seem to pose little danger. How could mere sounds represent a threat? Yet precisely because its meanings can be obscure, enabling it to achieve its ends surreptitiously, music has intertwined with danger throughout history. With its power to stir the emotions, stimulate bodily movement, encode messages, and foment rebellion, music has often been perceived as an agent of harm. Plato claimed that too much music could make a man effeminate or neurotic, and warned that certain musical modes, melodies, and rhythms promote licentious behavior and anarchic societies. Puritans, Victorians, and totalitarians, as well as opponents of ragtime, rock 'n roll, and rap, have also accused certain musical genres or styles of exerting dangerous influences, and sought to limit or suppress them. In Afghanistan, the Taliban banned music altogether. While music has often been unfairly accused, its potential for placing people in actual danger is undeniable. Works that are played at ear-splitting decibel levels, that call upon performers to injure themselves, that are used as a form of psychological torture, or that incite violence demand reconsideration of the widely shared view that music is fundamentally a form of entertainment. [ more ]
MUS 276 LEC Music and the Internet
Last offered Fall 2017
Since the release of Napster in 1999, the Internet's relationship with music has been sometimes elevating and sometimes adversarial. While it has granted listeners access to broad music libraries and musicians access to large audiences, the Internet has also exposed listeners to legal action, taxed artists with dwindling royalties, and disrupted and reshaped the recording and publishing industries. This course examines how the Internet has affected music at every level, from its creation to its distribution and consumption. Topics will include music written for online spaces, musical performances that take place online, music and online gaming, live music that refers to the Internet, the financial and philosophical background of music file formats, changing notions of musical ownership, censorship of music online, music's place in memes, and the user experience in (and attitudes toward music projected by) services like iTunes, YouTube, Spotify, and musically. [ more ]
MUS 279 TUT American Pop Orientalism
Last offered Fall 2020
This tutorial will investigate the representation of Asians and Asian Americans in American popular culture since the late nineteenth century. Our focus will be on music's role in Orientalist representation in a wide variety of media and genres, including Hollywood film, television, popular song, music videos, Broadway musicals, hip hop, and novels. We will begin with major texts in cultural theory (Said, Bhabha) and will attempt throughout the semester to revise and refine their tenets. Can American Orientalism be distinguished in any fundamental way from nineteenth-century European imperialist thought? How does Orientalist representation calibrate when the "exotic others" being represented are themselves Americans? Our own critical thought will be sharpened through analysis and interpretation of specific works, such as Madame Butterfly, "Chinatown, My Chinatown," Sayonara, Flower Drum Song, Miss Saigon, Rising Sun, M. Butterfly, Aladdin, and Weezer's Pinkerton. We will end the semester by considering the current state of Orientalism in American popular culture. [ more ]
MUS 280 TUT Dancing the Score/Scoring the Dance
Last offered Spring 2019
This course is designed for students interested in intensive collaborative composition work in dance and music. Students in dance will be paired with students in music; both students will be supported in creating in collaboration by practicing composition in their respective disciplines while working closely with each other in a structured, intimate setting. Any genre or style of music or dance may be explored. Projects will allow students to practice methodologies of collaboration and creation. Groups will evolve, and document procedures unique to their group. Students are expected to rigorously build upon and revise their work(s) by making active use of feedback sessions. Studying historic and contemporary dance and music collaborations in a variety of genres will give further context to our work. Weekly presentation of assignments, active participation in feedback sessions, identifying to the group what the next steps are, written reflection on sessions, and final showing will be required. Creating in collaboration trains students to articulate vision and intention while enabling the instructors to differentiate their aesthetic values from those of the students. It also trains students to collaborate with other disciplines during the creative process. The format allows class members to receive undivided focus on their processes, while also challenging them to assess their own abilities, create their own next steps, and discover how movement can inspire music as well as music inspiring dance. This tutorial provides a crucial central aspect of the creative arts: a space for ongoing feedback driven by the questions arising for the students, rather than specific aesthetic preferences or working practices. Investment in the work of one's group is central, sharing responsibility for the development of others' as well as one's own work. [ more ]
MUS 281(F, S) LSN Individual Vocal and Instrumental Instruction
Individual vocal or instrumental lessons offered as a partial credit fifth course. Students are encouraged to take this course for a letter grade. (Note: partial credit music lessons taken pass/fail do not count as one of the three pass/fail options available to students for regular semester courses.) Students are required to prepare for 10 lessons during the semester with a minimum expectation of one hour practice per day and to perform publicly on at least one departmental studio recital during the semester. Lessons are scheduled TBA based upon instructor schedule. Make-up lessons are given at the discretion of the instructor. Students taking courses in individual vocal or instrumental instruction must agree to meet the 10-week lesson commitment. There is no registration via Williams Student Records. To register for the course, a student must first contact the appropriate teacher; they may do this using the inquiry form. The inquiry form, an outline of the registration process, and the lesson registration deadlines are available on the Music Department website at https://music.williams.edu/courses/#individual-vocal-and-instrumental-instruction. Students will be reassigned to course numbers 281-288 based on the number of semesters of instruction already taken in one particular section. Specific instrument or voice sections are as follows: 01 Bassoon, 02 Cello, 03 Clarinet, 04 Bass, 05 Flute, 06 Guitar, 07 Harpsichord, 08 Horn, 09 Jazz Piano, 10 Oboe, 11 Organ, 12 Percussion, 13 Piano, 14 Classical Saxophone, 15 Trumpet, 16 Viola, 17 Violin, 18 Voice, 19 Jazz Bass, 20 Jazz Vocal, 21 Trombone, 22 Harp, 23 Jazz Drum, 24 Jazz Saxophone, 25 Jazz Trumpet, 26 Euphonium, 27 Tuba, 28 African Drumming, 29 Jazz Guitar, 30 Mbira, 31 Vocal/Songwriting, 32 Jazz Trombone 33 Sitar, 34 Tabla, 35 Erhu, 36 Yangqin, 37 Zheng, 38 Liuqin/Pipa, 39 Zhongruan [ more ]
Taught by: Ed Gollin
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MUS 291(F, S) LSN Chamber Music Workshop
Classical and Jazz Chamber Music and other small departmental ensembles (including Chamber Choir, Percussion Ensemble, Chinese Ensemble, and Brass Ensemble) coached by faculty on a weekly basis culminating in a performance. Offered as a partial credit fifth course that can only be taken on a pass/fail basis. Students in ad hoc groups organized each semester by the director of the chamber music or jazz programs are required to prepare for 10 one-hour coaching sessions during the semester. It is recommended that each group rehearse a minimum of 2 hours each week in preparation of the coaching. Each ensemble is responsible for keeping a weekly log of rehearsal times and attendance. The logs are to be handed in to the coaches at the end of the semester. In addition, students are expected to practice the assigned music individually and are required to perform on the Classical or Jazz Chamber Music concert at the end of the semester. The ensembles will be organized based on skill levels and the instruments represented. To register for the course, a student must contact the Chamber Music Performance Coordinator. If you are accepted into a chamber group the instructor will send you a link to an online form to complete registration. The Music Department will submit the registration to the Registrar's Office. It is not possible for the student to register directly through PeopleSoft. Students will be assigned to course numbers 291-298 based on the number of semesters of instruction already taken in one particular section. [ more ]
Taught by: Ed Gollin
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MUS 301 LEC Counterpoint
Last offered Fall 2020
Counterpoint, the study of the ways independent melodic lines can be joined in music, has been essential to musical and compositional instruction for centuries. Counterpoint was taught by Mozart, studied by Beethoven, and to this day remains an integral part of compositional training. The course will introduce students to species counterpoint in two and three voices--exercises that develop discipline in polyphonic writing, hearing, and thinking. The exercises will focus on the constraints of sixteenth-century vocal polyphony (music of Palestrina and Lassus) but will illustrate how such contrapuntal discipline is also manifest in music of Corelli, Bach, Brahms and Debussy. [ more ]
MUS 307(F, S) SEM Composition III
Advanced individual instruction in composition. Projects will be initiated largely by the students with guidance from the instructor. Student is responsible for arranging performance of their own work. Student may enroll for up to four semesters by taking these courses in sequence, with the lower numbered course being the prerequisite for the next higher numbered course. May not be taken in conjunction with Music 493 or 494, the honors courses in composition. [ more ]
MUS 308(F, S) SEM Composition IV
Advanced individual instruction in composition. Projects will be initiated largely by the students with guidance from the instructor. Student is responsible for arranging performance of their own work. Student may enroll for up to four semesters by taking these courses in sequence, with the lower numbered course being the prerequisite for the next higher numbered course. May not be taken in conjunction with Music 493 or 494, the honors courses in composition. [ more ]
MUS 316 SEM Music in Asian American History
Last offered Fall 2022
Is "Asian American music" all music made by Asian Americans, music by Asian Americans specifically drawing on Asian heritage, or music engaging with Asian American issues? This course embraces all three definitions and the full diversity of Asian American musical experience. We will study the historical soundscapes of immigrant communities (Chinese opera in North America; Southeast Asian war refugees) and how specific traumatic political events shaped musical life (Japanese American internment camps). We will encounter works by major classical composers (Chou Wen-Chung; Chen Yi; Tan Dun; Bright Sheng) and will investigate the careers and reception of prominent classical musicians (Midori; Seiji Ozawa; Yo-Yo Ma). Afro-Asian fusions, inspired by civil rights protest movements, manifested in jazz (Jon Jang; Fred Ho; Anthony Brown; Hiroshima; Vijay Iyer) and hip hop (MC Jin; Awkwafina; Desi rappers). Asian Americans have been active in popular music at home and abroad (Don Ho; Yoko Ono; Wang Leehom; Mitski). Finally, we will investigate communal forms of Asian American music making that have crossed racialized and gendered boundaries (taiko drumming; Indonesian gamelan; belly dance; Suzuki method). This seminar is designed to develop research skills, as we pursue original fieldwork, archival research, and oral history interviews. [ more ]
MUS 323 SEM Arts Organizing in Africa and the Diaspora
Last offered Spring 2024
At the heart of this class is the question, how do artists and organizations use the performing arts to effect social change in their communities? Drawing from a number of case studies from throughout Africa and the African Diaspora, we will first endeavor to understand and contextualize issues related to education, social uplift, the environment, and the economy as they relate to specific communities. We will then examine how a series of organizations (from grassroots campaigns to multinational initiatives) utilize the performing arts in response to those issues. Among the issues we will discuss at length are: -How do performers and organizations navigate the interplay between showcasing the performance talents of individuals and groups and foregrounding an issue or cause? More broadly, what dilemmas emerge as social and aesthetic imperatives intermingle? -What are the dynamics between people acting on a local level within their communities and their various international partnerships and audiences? -How can government or NGO sponsorship help and/or hinder systemic change? By the end of the semester, students will be equipped with conceptual frameworks and critical vocabularies that can help them ascertain the functions of performance within larger organizations and in service to complex societal issues. Throughout the course, we will watch and listen to a variety of performances from traditional genres to hip-hop, however this class is less about learning to perform or analyze any particular genre than it is about thinking through how performance is used as a vehicle for social change. Case studies will include youth outreach and uplift in Tanzania through the United African Alliance, campaigns to promote girls' education in Benin and Zimbabwe, community-wide decolonizing initiatives through the Yole!Africa Center in the Democratic Republic of Congo, and the cultural reclamation of a mining town in Suriname through the arts organization, Stichting Kibii. [ more ]
Taught by: Corinna Campbell
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MUS 330 STU Modern Folklore: Postcolonial Dance and Music in Africa
Last offered Spring 2019
"Folklore is a mixture of traditions, poems, songs, dances and legends of the people, it can be no other than the reflection of the life of the country and if that country develops, there is no reason why the folklore which is the living expression, should not develop as well. Modern folklore in present Africa is as authentic as the Africa of old." --Keita Fodeba, founding Artistic Director of Les Ballet Africain, Guinea, West Africa. This course will involve intensive dance and musical practice that is rooted in traditional and contemporary/forms from the African continent and the Diaspora. We will examine the international impact of countries who achieved independence from Europe in the late 1950's-1990s such as Les Ballets Africain, National Dance Company of Senegal, Bembeya Jazz, Ghana Dance Ensemble, and the national dance and music companies of Zimbabwe, Jamaica, and Cuba. Our study will include the impact of artists such as James Brown, Miriam Makeba, Michael Jackson, and Youssou N'Dour, as well as Hip Hop culture and the emergence of new forms of music and dance or modern folklore. [ more ]
MUS 381 SEM Choral Conducting
Last offered Spring 2024
The purpose of this course is to become fully acquainted with the fundamentals of conducting gesture, score study, and rehearsal technique as it relates to the choral rehearsal. Using the class as the primary practice choir, students will learn to express specific musical ideas and concepts through conducting patterns and body language, and will develop fluency and ease in these mediums through the study of varied repertoire and techniques. Regular videotaping of conducting sessions will provide opportunities for students to study themselves. Repertoire will include a broad survey of works from the early Renaissance to early 21st century, accompanied and a cappella, and issues of conducting ensembles at various skill levels will be addressed. [ more ]
Taught by: Anna Lenti
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MUS 382 SEM Orchestral Conducting
Last offered Fall 2021
This course will introduce and develop a broad range of subjects associated with conducting, including: leadership, rehearsal techniques, physical and aural skills, interpretation, performance practices, and programming. Related areas to be discussed include: balance, intonation, rhythm, articulation, bowings, and complex meters. Weekly conducting and score reading assignments will form the core of the workload. Larger projects may include conducting existing instrumental ensembles, and along with score reading, will be the basis of the midterm and final exams. This course includes instrument demos, and conducting videos. [ more ]
MUS 391(F, S) IND Advanced Musical Performance
Individual Instruction in instrumental and vocal lessons offered at the advanced level as a regular full credit course. Intended primarily for music majors, full credit lessons must be approved by the entire music faculty. Students are expected to have demonstrated a high level of accomplishment on their instrument/voice, through at least 4 semesters of partial-credit study with their instructor. MUS 391, 392, 491, 492 must be taken as a graded course and it is strongly recommended that it be taken only as part of a four-course load; the numbers 391, 392, 491, 492 should be used for four sequence courses in the same instrument; if a different instrument is elected, the numbering sequence should start again at 391; numbers are selected without regard to semester taken or class year of student. To register for the course, a student and their instructor must submit an application to the assistant to the department chair by the Tuesday before the first Friday of the semester. Forms for full credit lessons can be obtained from a student's instructor, or from the assistant to the chair. Information on the registration process is available on the music Department website https://music.williams.edu/courses under "Advanced Musical Performance." [ more ]
Taught by: Ed Gollin
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MUS 392(F, S) IND Advanced Musical Performance
Individual Instruction in instrumental and vocal lessons offered at the advanced level as a regular full credit course. Intended primarily for music majors, full credit lessons must be approved by the entire music faculty. Students are expected to have demonstrated a high level of accomplishment on their instrument/voice, through at least 4 semesters of partial-credit study with their instructor. MUS 391, 392, 491, 492 must be taken as a graded course and it is strongly recommended that it be taken only as part of a four-course load; the numbers 391, 392, 491, 492 should be used for four sequence courses in the same instrument; if a different instrument is elected, the numbering sequence should start again at 391; numbers are selected without regard to semester taken or class year of student. To register for the course, a student and their instructor must submit an application to the assistant to the department chair by the Tuesday before the first Friday of the semester. Forms for full credit lessons can be obtained from a student's instructor, or from the assistant to the chair. Information on the registration process is available on the music Department website https://music.williams.edu/courses under "Advanced Musical Performance." [ more ]
Taught by: Ed Gollin
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MUS 471 SEM Timbre
Last offered Spring 2021
Timbre is central to the experience of all music and often enables us to identify styles and cultures nearly instantaneously. However, timbre is not commonly discussed in detail since our technical vocabulary for describing this musical element has been comparatively limited. Our work in this seminar will involve readings in music theory and history, ethnomusicology, and cognitive studies as well as in the emerging field of sound studies as we attempt to define timbre, explore its manifestations in a wide variety of music, and develop an analytical approach and descriptive vocabulary tooled specifically to this musical element. We will consider how composers and performers of both art and popular musics have wielded timbre as an expressive device and how technology may allow us to analyze details of timbral performance and perception. We will investigate the relationship between timbre and orchestration, from the rise of Haydn's orchestra to the Klangfarbenmelodie of Schoenberg. We will consider extremes of timbral distortion in both vocal and electric guitar effects in rock music as well in such traditions as Korean p'ansori and will explore various forms of speech music and the work of composers of spectral music to expand our case studies. Finally, our own experiments with timbral effects will bring our seminar to bear on our musical performance. [ more ]
MUS 472 SEM Bach's Legacy
Last offered Spring 2019
How have composers after Bach engaged with his legacy? This seminar will trace the course of the Classical and early Romantic period "Bach Revival" through Mozart, Beethoven, Mendelssohn, and Clara and Robert Schumann, and explore how he was venerated in the later Romantic era by Brahms and Busoni. Our main focus, however, will be on how composers of the modern era have viewed him and used his music. We will test critical conceptual frameworks offered by David Lowenthal's "The Past is a Foreign Country" and Harold Bloom's "The Anxiety of Influence," using them as lenses through which to view contemporary classical composers' Bach-inspired creations, ranging from Schoenberg and Webern through Sophia Gubaidulina, George Crumb, and David Lang. Finally, we will consider both the musical techniques and meanings of reworkings and quotations of Bach's music in film, jazz and popular music. [ more ]
MUS 473 SEM Process Music
Last offered Spring 2018
The course explores process music--music organized by the unfolding of various mathematical or mechanistic procedures--as defined by Steve Reich's "Music as Gradual Process." The seminar centers upon Reich's process music, placing it in the context of its intellectual and musical precursors, the process and minimalist music of his contemporaries, and the subsequent generations of composers who built on Reich's foundation. The course will develop analytical tools to both define the processes that composers use in their music and to explore the particular relation between the musical materials (melodic, rhythmic) a composer chooses and the processes to which those material are subject. Reich's process music and its techniques will serve as both a lens and mirror to examine and reflect upon precursor repertoires, including the contrapuntal music of Bach, isorhythmic motets of the middle ages and their cyclic counterparts in the music of Messiaen, serial procedures of the 1950s, and Ghanaian ensemble drumming. Contemporary musicians/composers to be explored as lecture topics and student projects will include Riley, Glass, Tenney, Lang, Tom Johnson, and Radiohead. [ more ]
MUS 474 SEM Music and Corporeality
Last offered Spring 2022
Music is often said to derive its own special quality from the fact that it exists outside of visual representation and is not contained within a physical form, yet musical sound and practice are created through and act upon bodies in numerous ways. This course aims to address how music and bodies shape and respond to one another. Drawing from sources across musical sub-disciplines and extending to fields including cognitive science, sound studies, performance studies, and anthropology, we will follow four lines of inquiry related to music and corporeality: 1.) Embodied practices: techniques and pedagogies in performance and in listening (including praxis [Bourdieu], Deep Listening [Oliveros, Becker], Alexander Technique); 2.) Music's physical effects and affects: pleasure and pain, the vocalic body [Bonefant, Connor, Barthes], cognitive processes; 3.) Ideological moves: questioning the universality of music and of bodies and Cartesian dualism; 4.) Music and bodies at their limits: cyberfeminism, futurism, disembodiment, ecstasy, questions of artificiality/virtuality. Musical examples will be drawn from classical and popular sources from Euro/American idioms and beyond, predominantly from the late 20th and 21st centuries. [ more ]
MUS 475 SEM Hearing Through Seeing: Music and Visuality
Last offered Spring 2024
We hear music, but seldom is the experience purely aural -- the visual also plays a crucial role. Sound and sight converge when we observe musicians performing in concert venues, patterns of notes and rhythms on the musical score, pictures and text on album and sheet music covers, moving images on screens in films, music videos, and video games. A programmatic work conjures specific images, even whole narratives, in our "mind's eye," or imagination. A work of absolute music, such as a fugue or symphony, can do so as well, although what we envision here may be largely abstract. With hybrid genres, such as opera, musical theater, and dance, the musical and the visual jointly command our attention, often in a spectacular display. This seminar explores myriad ways that "seeing" mediates our experience of hearing, making, and understanding music. We will examine a broad range of topics, including synesthesia; visuality in performance and interpretation; visual metaphors such as line, color, and space in music analysis and criticism; music and representation; intersections between music and painting, sculpture, and architecture; operatic staging; illuminated music manuscripts; eye music and graphic notation; and sound and image in digital media. [ more ]
Taught by: Marjorie Hirsch
Catalog details
MUS 476(S) SEM Orality and Literacy in Historical Musical Practice
Music is an inherently oral/aural, ephemeral art form. Music history is reliant upon, and tends to privilege, its symbolic rendering in fixed notation. Yet, notated music--described by musicologist Nino Pirrotta as "the visible tip of an iceberg... seven-eighths of [which] remain submerged"--tells only a fraction of the story we seek to understand when studying musics of the past. In this seminar, we will address the unique challenges of studying the relationship between orality and literacy in historical musical practice. We will begin by considering the creative role of memory and embodied ritual in oral musical performance and transmission, as well as the ways in which various cultures have attempted to preserve such practices and the inherently transformative process they undergo when fixed in notation. We will then explore the range of theories and methodologies that scholars and performers have taken in approaching oral musical practices of the past in relation to varying levels of textual and musical literacy. Topics may include studies of epic poetry, jazz improvisation, medieval plainchant, troubadour song, improvised counterpoint, son mexicano, Neapolitan lyric song and dance, Ethiopian Christian chant, medieval and early modern instrumental music practices, Arab-Andalusian music, music in the commedia dell'arte, and various examples of contrafacture. Over the course of the semester, students will develop and present their own independent research aimed at producing a collaborative mock conference/performance as a final project for the class. [ more ]
Taught by: Elizabeth Elmi
Catalog details
MUS 491(F, S) IND Advanced Musical Performance
Individual Instruction in instrumental and vocal lessons offered at the advanced level as a regular full credit course. Intended primarily for music majors, full credit lessons must be approved by the entire music faculty. Students are expected to have demonstrated a high level of accomplishment on their instrument/voice, through at least 4 semesters of partial-credit study with their instructor. MUS 391, 392, 491, 492 must be taken as a graded course and it is strongly recommended that it be taken only as part of a four-course load; the numbers 391, 392, 491, 492 should be used for four sequence courses in the same instrument; if a different instrument is elected, the numbering sequence should start again at 391; numbers are selected without regard to semester taken or class year of student. To register for the course, a student and their instructor must submit an application to the assistant to the department chair by the Tuesday before the first Friday of the semester. Forms for full credit lessons can be obtained from a student's instructor, or from the assistant to the chair. Information on the registration process is available on the music Department website https://music.williams.edu/courses under "Advanced Musical Performance." [ more ]
Taught by: Ed Gollin
Catalog details
MUS 492(F, S) IND Advanced Musical Performance
Individual Instruction in instrumental and vocal lessons offered at the advanced level as a regular full credit course. Intended primarily for music majors, full credit lessons must be approved by the entire music faculty. Students are expected to have demonstrated a high level of accomplishment on their instrument/voice, through at least 4 semesters of partial-credit study with their instructor. MUS 391, 392, 491, 492 must be taken as a graded course and it is strongly recommended that it be taken only as part of a four-course load; the numbers 391, 392, 491, 492 should be used for four sequence courses in the same instrument; if a different instrument is elected, the numbering sequence should start again at 391; numbers are selected without regard to semester taken or class year of student. To register for the course, a student and their instructor must submit an application to the assistant to the department chair by the Tuesday before the first Friday of the semester. Forms for full credit lessons can be obtained from a student's instructor, or from the assistant to the chair. Information on the registration process is available on the music Department website https://music.williams.edu/courses under "Advanced Musical Performance." [ more ]
Taught by: Ed Gollin
Catalog details
MUS 493(F, S) HON Senior Thesis: Music
Music senior thesis; this is part of a full-year thesis (493-494). Required for all students approved for thesis work in music. Please refer to "The Degree with Honors in Music" for deadlines and other requirements. [ more ]
Taught by: Ed Gollin
Catalog details
MUS 494(F, S) HON Senior Thesis: Music
Music senior thesis; this is part of a full-year thesis (493-494). Required for all students approved for thesis work in music. Please refer to "The Degree with Honors in Music" for deadlines and other requirements. [ more ]
Taught by: Ed Gollin
Catalog details
MUS 497(F, S) IND Independent Study: Music
All independent study proposals must be approved by the entire music faculty. Proposals must be completed and signed by faculty sponsor, and submitted to department chair, by the day PRIOR to the first day of classes of the semester. No proposals will be accepted or considered if this deadline is missed. Proposals for full-year projects must be complete at the beginning of the fall semester. [ more ]
Taught by: Ed Gollin
Catalog details
MUS 498(F, S) IND Independent Study: Music
All independent study proposals must be approved by the entire music faculty. Proposals must be completed and signed by faculty sponsor, and submitted to department chair, by the day PRIOR to the first day of classes of the semester. No proposals will be accepted or considered if this deadline is missed. Proposals for full-year projects must be complete at the beginning of the fall semester. [ more ]
Taught by: Ed Gollin
Catalog details
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https://www.archives.gov/founding-docs/declaration-transcript
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Declaration of Independence: A Transcription
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[
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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://starlightexpressmusical.fandom.com/wiki/Oliver_Rhoe_Thornton
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Oliver Rhoe Thornton
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https://static.wikia.nocookie.net/starlightexpressmusical/images/d/d4/Oliver_Thornton.jpg/revision/latest?cb=20150306101614
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https://static.wikia.nocookie.net/starlightexpressmusical/images/d/d4/Oliver_Thornton.jpg/revision/latest?cb=20150306101614
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"Contributors to Starlight Express the Musical Wiki"
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2024-07-29T22:27:06+00:00
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Oliver Thornton is a British Musical Theatre Actor. He first appeared in the Bochum production of Starlight Express in 2001 playing Caboose and understudying Rusty, performing under the name "Rhoe Thornton". In 2006 he played Rusty in the UK Tour, using the name "Oliver Thornton". Bochum ...
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https://static.wikia.nocookie.net/starlightexpressmusical/images/4/4a/Site-favicon.ico/revision/latest?cb=20210601143418
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Starlight Express the Musical Wiki
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https://starlightexpressmusical.fandom.com/wiki/Oliver_Rhoe_Thornton
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Oliver Thornton is a British Musical Theatre Actor. He first appeared in the Bochum production of Starlight Express in 2001 playing Caboose and understudying Rusty, performing under the name "Rhoe Thornton". In 2006 he played Rusty in the UK Tour, using the name "Oliver Thornton".
Starlight Express Credits[]
Bochum - 2001-02 - Caboose (cover Rusty, Electra)
UK Tour - 2006-07 - Rusty
2006 Biography[]
Oliver Thornton grew up iin South Wales where he studied classical ballet. He then went on to graduate with a BA Hons degree from Mountview Academy of Performing Arts.
His West End credits include: Raoul in The Phantom of the Opera (Her Majesty's Theatre); Enjolras in Les Miserables (Queen's and Palace Theatres)' Harrison and understudy to Mary Sunshine in Chicago (Adelphi Theatre).
Other theatre credits include: Caboose, Rusty, Electra in Starlight Express (Germany).
Film credits include: De-Lovely (MGM)
Oliver is thrilled to be joining the cast of Starlight Express as Rusty.
Gallery[]
Bochum[]
UK Tour[]
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https://www.timeout.com/newyork/theater/best-plays-of-all-time
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50 Best Plays of All Time: Comedies, Tragedies and Dramas Ranked
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[
"Andy Propst"
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2024-06-21T04:00:00+00:00
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We sifted through centuries of theater—comedies, dramas, experimental works and more—to find the best plays of all time.
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en
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Time Out New York
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https://www.timeout.com/newyork/theater/best-plays-of-all-time
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New York is practically synonymous with theater, and from Broadway to Off Broadway to Off-Off Broadway, there are countless opportunities to see top-notch dramatic works. Of the countless shows that have been produced since the dawn of performance, it’s nearly impossible to choose the best plays. But we’ve done just that with our list of the best plays of all time.
What does it mean to say which plays are the best? Quality, popularity, universality, influence and historical importance all factored into the decision-making process. From Greek tragedies and Shakespearean comedies to Tony Award winners and modern experimental theater, this opinionated list by the late theater journalist and critic and Andy Propst covers some truly excellent works (though we're leaving Broadway musicals for another day). Read on and let the debates begin!
RECOMMENDED: Guide to thebest Broadway shows
1. Hamlet by William Shakespeare
What doesn't this tragedy have? There's sublime poetry, rich psychology for characters of both sexes, a hefty dose of comedy to leaven the mood, and, depending on a director's interpretation, a crackling good mystery lying underneath the tale of "The Melancholy Dane." Shakespeare took a standard-issue—for the period—genre and used it to create a monument in Western literature, dramatic or non. This play can be debated and dissected ad infinitum.
2. Long Day's Journey Into Night by Eugene O'Neill
This autobiographical play about O'Neill's young adulthood scorches from start to finish. You can feel the rawness as soon as it starts, as a man—along with his two adult sons—strives to ensure that his wife remains serene after a stint in rehab for morphine addiction. It goes downhill from there as she starts using again and all three guys hit the bottle. Written from a place of utter rawness, this drama stands at a pinnacle of the American family drama.
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3. Who's Afraid of Virginia Woolf? by Edward Albee
The language of theater—not in the stagecraft sense, but in the actual dialogue sense—became something new with this lacerating 1962 drama. Two couples at a tiny New England liberal arts college drunkenly go at each other from the wee hours of the morning until almost dawn. Their weapons are their words, and what words they are. Erudition and profanity blend to lyrical heights as secrets, resentments, and even genuine affection are revealed.
4. Death of a Salesman by Arthur Miller
"Attention must be paid." Indeed. Not just to Willy Loman and the sad realities of his life as a mediocre traveling salesman and the delusions that barely keep him afloat, but also to Miller's exquisite modern tragedy about an average Joe. Both grittily naturalistic and ethereally dream-like, this one punches the audience in the gut time and again simply because it allows us to witness his heartbreaking final downfall while also allowing us to go inside his mind to seemingly feel his deep-seated pain.
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5. Oedipus Rex by Sophocles
Used as the exemplar of dramatic writing in Aristotle's Poetics, this Greek tragedy remains a pillar of playwriting. Before walking into a production or picking up a copy of the script, we all know that King Oedipus has killed his father, married his mother, etc. And yet Sophocles' slow reveal of the truths of the monarch’s life and the pride that sets him and his family spiraling toward a tragic downfall never ceases to be genuinely compelling. This one stands the test of time simply because it's good stage storytelling.
6. Angels in America by Tony Kushner
Its two parts, Millennium Approaches and Perestroika, give theatergoers a whirlwind trip through stories ranging from a man's battle with AIDS to über-Republican Roy Cohn's homophobia and his own realization that he also has the disease, and from the Rosenbergs' legacy to a Mormon couple's struggle with his gayness and her drug addiction. Digressions include fever dreams and trips to the heavens. It's all exactly what Kushner promises in the piece's subtitle: "A Gay Fantasia on National Themes," and the boldness Kushner's storytelling and unbridled imagination means that this one thrills.
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7. The Glass Menagerie by Tennessee Williams
As with so many others on this list, Williams is a playwright whose works could take up several entries. Choosing Menagerie over, say, A Streetcar Named Desire or Cat on a Hot Tin Roof comes down to this: Menagerie is his breakthrough work that introduced his unique brand of theatrical lyricism to the world. And while some of his other plays go farther in terms of stretching stage conventions or tackling weightier issues, this one takes a gentle sliver of a story and turns it into something magical.
8. A Raisin in the Sun by Lorraine Hansberry
Hansberry broke a barrier with this drama about an African-American family attempting to better itself by moving to a new neighborhood; she became the first Black woman to have a play produced on Broadway. It's not just this factor that puts Raisin on this list. As we saw with not one but two fine revivals in a period of 10 years, Raisin speaks to audiences of all races and generations because its plot elements and themes cut across ethnic and chronological divides.
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9. Woyzeck by Georg Büchner
Although this uncompleted script about a soldier's descent into madness was written in the early 19th century, it feels much more like an experimental drama from 100 years later. Part of the reason for this is the fact that it is indeed unfinished and hence sketchy. But Büchner also pioneers objectifying characters by using only their titles to identify them and commandingly sets a standard for dramatizing fever dreams and his central character's fragile grasp on reality.
10. Waiting for Godot by Samuel Beckett
A new era in playwriting dawned with the debut of this play in 1948. Beckett eschewed standard plot in this piece about two tramps on a mostly barren plain waiting for someone named, obviously, Godot. When he doesn't show in the first act, they do it again with variations in the second. Are they waiting for some sort of perverse God? Is Beckett simply depicting the mundane realities of daily existence in the play? Both? Regardless, Godot brought abstraction center stage and did and still does it beautifully.
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11. The Bald Soprano by Eugene Ionesco
The life of the complacent bourgeois—and by extension the worlds of many theatergoers—got put through an absurdist prism in this French classic that simultaneously blew the roof off the houses where drawing-room comedies had traditionally taken place. Language, narrative, and character all get zanily and incisively fractured in this play about two couples and the two evenings they spend visiting one another. When the piece debuted in 1950, no one had never seen anything quite like it.
12. Look Back in Anger by John Osborne
Wouldn't it be great to write a play that inspired a label for work from an entire generation of writers? This 1956 drama did just that as it took middle age (mostly) out of playwriting and instead offered up a picture of life among a group of discontent British twentysomethings, pulling English drama out of parlors, dining rooms, and genteel patios, and into cramped inner-city apartment squalor. Long live the "angry young man play."
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13. Hedda Gabler by Henrik Ibsen
What's a woman in a terrible marriage supposed to do? Norwegian playwright Ibsen gave us a number of answers in his career. With Hedda, the only escape turns out to be suicide. Hedda doesn't strike quite the same feminist blow as another of Ibsen's plays (A Doll's House, where the Nora just leaves), but that's why Hedda is here. This play demonstrates incontrovertibly Ibsen's determination to make his audiences consider feminist issues in the 19th century by presenting them with such a grim outcome.
14. The Homecoming by Harold Pinter
A guy brings home his girlfriend to meet the family. It's a simple premise that Pinter turns into a debatable conundrum as he makes action and dialogue concurrently realistic and opaque, both ordinary and menacing. Much of this has to do with the fabled "Pinter Pause," which simply mirrors the way we often respond to each other in conversation, tossing in remainders of thoughts on one subject well after having moved on to another.
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15. Machinal by Sophie Treadwell
Expressionism and feminism collide in this 1928 play that explores how many women were just disposable objects as the last century dawned. For the heroine of this sometimes-harrowing play, life moves from an office job to marriage to the electric chair with cruel intensity. It's become a mainstay of both the stage and the classroom for good reason.
16. Fences by August Wilson
Theoretically any of Wilson's 10 plays chronicling the African-American experience in Pittsburgh during the last century would easily fit onto this list, but this one stands apart from the others because of its tremendous heart and its commanding central figure who reaches almost tragic dimensions. It's little wonder that the play, set in the 1950s and centering on a former Negro league baseball pitcher struggling to provide for his family and battling against his bitterness, has attracted actors such as James Earl Jones and Denzel Washington.
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17. Uncle Vanya by Anton Chekhov
Why Vanya and not The Seagull or Cherry Orchard or Three Sisters, you may ask? Ultimately, for me, this one comes down to scope. All of Chekhov's meticulously observed plays find both the comedy and tragedy in ordinary lives. What sets this one apart from the others is its relative quietness as it looks at small crises in an extended family's everyday existence, becoming something of a benchmark for brooding family drama.
18. Tartuffe by Moliere
Simultaneously riotous and scathing, this comedy explores and exposes the hypocrisy that can often lie underneath religious fervor and the lengths to which a zealot's followers will go to protect him or her and their beliefs. The play might have been originally written as an indictment of members of Louis XIV's court, but this satire has the ability to speak to almost any age.
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19. What the Butler Saw by Joe Orton
With this play Orton takes the British sex farce (and to a lesser extent the British procedural) to the dark side as the insanities of a mental health clinic rise to both bizarre and hilarious heights. Orton tackles everything from sexual and gender politics to governmental ineptitude in this iconoclastic play from the late 1960s that seems particularly apt for revival right now.
20. Uncommon Women and Others by Wendy Wasserstein
Wasserstein won the Pulitzer for The Heidi Chronicles, but well before that look at life in post-feminist America she wrote this touchingly funny play about a group of Mount Holyoke alums traversing feminism's second wave. As the piece works backward through time from 1978 to 1972, what emerges is a cunning portrait of women during a period when possibilities seemed both infinite and curiously limited.
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21. This Is Our Youth by Kenneth Lonergan
Lonergan's play about a trio of young people hanging out, squabbling over a coke deal, and looking for some sense of direction in the early years of the Reagan era follows in the footsteps of the British "angry young man" plays. The fact that it premiered about 10 years after the period in which it's set gave (and gives) this funny/sad piece a haunting resonance for Gen Xers.
22. Rosencrantz and Guildenstern Are Dead by Tom Stoppard
What happened when Hamlet wasn't at the forefront of events in Elsinore? It's not a question that many would have considered, but leave it to Stoppard's fertile brain to latch onto the question and answer it with a rip-roaring riff on a classic. His ability to mirror the events of his source material and echo its existentialist themes only makes R&G more impressive. It's another debut work whose promise was fulfilled repeatedly over the years, in plays ranging from Arcadia to Jumpers and the elephantine Coast of Utopia trilogy.
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23. The Normal Heart by Larry Kramer
The energy and anger of a community—and the playwright himself—make this play about the earliest days of the AIDS crisis vibrate with passion and intensity even 30 years after its premiere. Kramer's achievement in this snapshot of events from the early 1980s is twofold: It works as a standalone drama for the ages and retains its edge as a damning piece of political theater from the shameful period in the country's history.
24. Topdog/Underdog by Suzan-Lori Parks
Critics and audiences alike had come to savor Parks' ability to challenge our ideas about race, history, and relationships with poetic and often opaque plays before this 2001 piece debuted. Her unique gifts coalesced and found a wider audience with this play about two brothers (named Booth and Lincoln) whose existences are irrevocably and tragically intertwined. It's a drama that works both as a family drama and as profound investigation about the legacy of slavery. Small wonder it’s a Pulitzer winner.
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25. Candida by George Bernard Shaw
What to do about Shaw? So many of his plays zing as comedies and also still work as social commentary. Looking over his canon (pun sort of intended), it struck me that this one of the "Plays Pleasant" series might be most important. It's a simple play, about a young poet who thinks he needs to "rescue" a woman away from her clergyman husband, that bristles with Shavian wit and pointed political and social debate, ultimately shimmering as a shrewd consideration of love and marriage in Victorian England—or really any period.
26. Playboy of the Western World by J.M. Synge
The Aristotelian notion that a tragic hero needs to be noble gets thrown out the window in this play about a man who's heralded as a hero for having killed his father in self-defense only to be reviled by those who had cheered him when it turns out the old man was only wounded. The play sparked riots when it premiered in 1907, and while it no longer has the ability to inspire that level of passion, the play is a touchstone for the sort of dark Irish dramas we now expect from the likes of Conor McPherson and Martin McDonagh.
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27. The Importance of Being Earnest by Oscar Wilde
This quintessential comedy of manners has retained its ability to tickle audiences for over 100 years. It's also been an inspiration for numerous writers who have adapted it to suit changing times. Wilde's unparalleled ability to spin cutting epigrams is only one of the reasons that this piece has endured. There's also his genteel mockery of classism and chauvinism. Like the watercress sandwiches that are consumed in the play, it's always a refreshing treat.
28. Awake and Sing! by Clifford Odets
Tensions run high in this play about three generations of a Bronx Jewish family and each one's pursuit of the American Dream. Can one achieve it while also remaining true to one's heritage? It's a question that immigrants have had to ponder in any decade, and as evidenced by the NAATCO revival in 2015 this kitchen-sink drama poignantly transcends race and religion.
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29. The School for Scandal by Richard Brinsley Sheridan
This 18th-century confection skewers the mores and mouths of London's elite as they backstab one another with gossip. It's best served up in an era in which society is itself preying on dirt and innuendo, and for better or worse we're never quite far away from that. Thus, it's a piece that has remained timely and delightful through the centuries.
30. Stuff Happens by David Hare
Hare borrowed a phrase from Donald Rumsfeld and adopted a Shakespearean flair for both fact and fiction for this play about the events that led up to the Iraq War. Parts of the play are taken verbatim speeches, press conferences and meeting transcripts. Other portions are imagined versions of meetings that took place between elected and other government officials. The result was one of the most impressive political dramas to emerge in recent memory.
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31. Life With Father by Howard Lindsay and Russell Crouse
Of all the plays on this list, this might be the "sturdiest" and probably the most old-fashioned. Yet this lithesome comedy about a woman's fears that her husband was never baptized has a unique place in theater annals. Until Fiddler on the Roof came along, Life was the longest-running show in Broadway history, and as late as 1987 it was among the top five long runs. Until a theater is willing to revive it, take a look at the delightful 1947 movie version.
32. Twelfth Night by William Shakespeare
The Bard of Avon is the only writer to get two slots on this list. Twelfth Night has made it because it represents, to me, all of the best elements of Shakespeare's romances: mistaken identities, low comedy among the servants, and some of his most gorgeous poetry. The cross-dressing of one character also gives the play, for modern audiences, a homoerotic vibe, and this aspect, combined with a certain darkness in the end, makes the play feel unquestionably contemporary.
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33. Cloud 9 by Caryl Churchill
The lives of the British elite in Victorian-era India and among a group of modern-day Londoners have striking similarities in this gender-bending play. Churchill brings both humor and compassion to her characters and their worlds, and in the process creates a play that can concurrently move theatergoers emotionally and provoke thought. Originally seen in 1979, the play established a new benchmark for theatrical conversations about race and gender politics.
34. Volpone by Ben Jonson
An already wealthy man sets out to increase his fortune by duping his friends into thinking he's at death's door. Avaricious as he is, they all shower him with presents with the expectation that they'll receive his money when he dies. Garrulously sexual and wildly satiric (the characters' Italianate names are references to animals ranging from fox to crow to vulture), this comedy has lasted simply because we have yet to live in an era in which greed has gone out of style.
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35. Ruined by Lynn Nottage
Inspired by another play on the list (Brecht's Mother Courage), this play expands on the idea of a woman earning her wages off the war and places it squarely in the 20th century and in particular the middle of the civil war–torn Congolese republic. Nottage's prize-winning play depicts with warmth and reality the desperate plight that women faced during the war, and rather than condemning the central character's actions, the play boldly allows audiences to see that in desperate times unbearable and unthinkable choices must be made.
36. Our Town by Thornton Wilder
So homespun. So traditional. It's taught to teenagers around the country. Yet this 1938 work was a game-changer. Wilder did away with sets, brought a "stage manager" in front of the audience to help move them through the New England town of Grover's Corners, and in the process created a transcendent play about human existence, from cradle to, quite literally, grave. It's a work that has inspired generations of writers and moved theatergoers around the world.
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37. The Vortex by Noël Coward
Yes, everyone thinks about the frothy farces Private Lives and Blithe Spirit when Sir Noël Coward's name comes up, but here's the one that made his reputation. It's a potboiler of sorts that exposes the extravagance of British youth during the height of the Jazz Age and the privileged Edwardian culture that gave rise to them and their behavior. Drug abuse and a hefty dose of Oedipal love spice up the drama, and all the while Coward's dry wit sparkles.
38. She Stoops to Conquer by Oliver Goldsmith
This 18th-century comedy makes the list because of its enduring popularity (we don't see many plays from the era over and over) and because it is a clever amalgam of a host of theatrical comedic genres, encompassing romance, satire, and farce. It's these different aspects that have allowed the piece to endure through the centuries, each speaking with a clear voice to new generations.
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39. Mother Courage and Her Children by Bertolt Brecht
This saga about a woman who makes her living from the soldiers fighting on both sides of the Thirty Years War has proven remarkably versatile since its premiere in 1939. Brecht's depiction of how Courage's business tears her three adult children from her has been reset in periods and on continents far away from its original location of Europe, thanks to the story's universal themes about war profiteers and the human cost of warfare.
40. John by Annie Baker
A couple takes refuge in a small bed and breakfast after spending holidays with the woman's family. Tensions run high between them, and while the charming tchotchke-filled inn might seem to be the place where frayed nerves could be soothed, it proves to be anything but. Baker's simultaneously warmhearted and spooky play proves to be a heartbreaker, investigating the infinitesimal moments that combine to propel all of our lives and relationships.
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41. Clybourne Park by Bruce Norris
In this 2010 dramedy Norris takes audiences into the Chicago house that is the focus of the Younger family's dreams and aspirations in Lorraine Hansberry's A Raisin in the Sun, both in the days preceding that family's potential move there and then, five decades later. In the process he provides shrewd insights into the delicate threads that tie a community together and the stronger forces of bigotry and self-interest that can brutally snap them. This Pulitzer Prize winner remarkably expands upon a landmark drama with crackling humor and insight.
42. Master Harold…and the boys by Athol Fugard
The Signature Theatre Company's recent revival of this 1982 play set in 1950s South Africa demonstrated that it still has the power to move audiences. Originally banned in Fugard's homeland, the play—about a white teenager and the two African men who work for his parents as servants—systematically depicts and denounces the psychological and governmental prejudices and divides that Apartheid visited upon generations.
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43. The Women by Claire Booth Luce
The lives and loves of Upper East Side society doyennes get put under the microscope in this 1936 play. Luce's willingness to depict the women's bitchiness and the characters' dependence on the men in their lives has made some think of it as being antithetical to the feminist movement. Ultimately, though, the piece, which has an all-female cast, does reveal the women's individual and collective strengths, striking, if not a feminist blow, a pro-female stance.
44. The Humans by Stephen Karam
In this acclaimed drama a family's seemingly innocuous Thanksgiving gathering on the Lower East Side beats in tune with the tense pulse of the country as fears about financial security, aging, relationships, and more bubble to the service. A quiet rumination in the style of Chekhov or Thornton Wilder, the play quickly moved from its berth Off Broadway to one on Broadway, where it served as an eerie reflection of a nation.
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45. M Butterfly by David Henry Hwang
Sometimes truth is indeed stranger than fiction, as was demonstrated by the real-life story of a French diplomat who maintained a sexual relationship with a male Peking opera singer for years, all the while remaining oblivious to the performer's gender. Hwang astutely saw the story's theatrical possibilities and created a piece that thrillingly explores racial and sexual stereotypes. It was a groundbreaker in 1988 and, among other honors, was a finalist for the Pulitzer.
46. Fefu and Her Friends by María Irene Fornés
Fornés impact on playwriting cannot be underestimated, not one but two generations of Latino and Latina playwrights studied with the dramatist. Although her 14th play, Fefu and Her Friends was Fornés breakthrough work, simultaneously naturalistic and presentational as it depicts a gathering of women in various locations over the course of a day. Because of its demands on theatermakers, we don't see it often, but when Fefu is produced it’s a reminder that interactive and environmental theater started well before Sleep No More.
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47. Short Eyes by Miguel Pinero
From one of the co-founders of the Nuyorican Poets Café, Short Eyes plunges its audiences into gritty realities of life behind bars. Pinero's own incarceration at Sing Sing inspired many pieces of the drama that eventually hit Broadway in 1974 (courtesy of Joseph Papp and the New York Shakespeare Festival), where it picked up a bevy of award nominations, becoming the first play by a Latino writer to be nominated for a Tony Award as best play.
48. Everyman by Unknown
Although this medieval morality play rarely takes to the stage anymore, its position of importance in theatrical history cannot be underestimated. At a time when plays were pageants that reenacted stories from the bible, this one incorporated a fictional narrative to serve up roughly the same lessons (or morals). Is it Marlowe or Shakespeare? No. But it did pave the way for these poet-dramatists and many others.
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49. Dutchman by LeRoi Jones
In 1964 this play about a white woman and an African-American man's encounter on the New York City subway unflinchingly explored race relations not just in Manhattan but also across the country. Both naturalistic and allegorical, the play continues to pulse with urgency, as was evidenced in a 2007 revival at the Cherry Lane Theatre that starred Dulé Hill.
50. The Persians by Aeschylus
This tragedy about a Persian king's disastrous war against the Greeks is the oldest play that we know in Western drama. Theatrical day one, so to speak. Beyond the play being the starting point for drama as we know it, the piece can also have exceptional timeliness in today's world. Aeschylus' depiction of a son attempting to wage a war against an enemy who defeated his father certainly had resonance during the second Bush presidency.
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Oliver Thornton - Kim Partridge Interiors
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After a seventeen year acting career in the UK, I moved to New York, where I lived for 7… · Experience: Kim Partridge Interiors · Education: New York School of Design · Location: London · 62 connections on LinkedIn. View Oliver Thornton’s profile on LinkedIn, a professional community of 1 billion members.
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Pratt Manhattan Gallery
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2022-08-09T18:16:48+00:00
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Pratt Manhattan Gallery supports the educational goals of Pratt Institute by presenting exhibitions that reflect the interdisciplinary, research- and inquiry-based education that prepares Pratt students for success […]
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Pratt Institute
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https://www.pratt.edu/about/exhibitions/pratt-manhattan-gallery/
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Pratt Manhattan Gallery supports the educational goals of Pratt Institute by presenting exhibitions that reflect the interdisciplinary, research- and inquiry-based education that prepares Pratt students for success in creative fields and professional practice.
144 West 14th Street
New York, NY 10011
212.647.7778
exhibits@pratt.edu
Hours: Monday – Saturday 11 AM – 6 PM
The Pratt Manhattan Gallery is closed on Sundays and the following building holidays in 2022-23:
November 24-26, 2022 (Thanksgiving)
December 23, 2022–January 2, 2023 (Winter Break)
January 16, 2023 (Martin Luther King)
May 29, 2023 (Memorial Day)
July 4, 2023 (Independence Day)
September 4, 2023 (Labor Day)
November 23-25, 2023 (Thanksgiving)
December 25, 2023–January 1, 2024 (Winter Break)
ADMISSION IS FREE.
Visit the Department of Exhibitions on Facebook, Twitter, and Instagram.
Current Exhibition
To Live in the Imagination
Pratt Photography MFA Alumni Exhibition
Organized by Sara VanDerBeek
June 28 – August 31, 2024
Opening Reception: Thursday, June 27, 2024, 6-8pm
Learn more about the exhibition through the Exhibition Catalogue and the Virtual Tour.
To live in the imagination, as an artist in the 21st century, is a dream and an imperative. In this time of increased imaging and rapid advancements in artificial intelligence and machine learning, how do artists working with photography continue to imagine, experiment, and explore this essential form of communication?
Organized as a conversation between seven 2021–2023 alumni of Pratt Institute’s nascent Photography MFA program and a selection of singular works by the six graduates of the class of 2024, To Live in the Imagination presents a continuum of practices from an evolving cohort of artists in dialogue across disciplines, sites, and experiences. Existential essentials—such as memory, landscape, home, family, and the body—are shared subjects of inquiry and exploration among many of the included artists, while others address the shifting field of photographic representation. Throughout the exhibition, care and criticality are of equal importance.
Stephanie Espinoza
Rachel Handlin
Katharina Kiefert
Ethan Li
Megan Mack in collaboration with Abby Waters
Kristina Naso
Chloe Scout Nix
Erin O’Flynn
Jan Rattia
Kunwar Prithvi Singh Rathore
Lena Smart
Baillie Vensel
Jingge Zhang
Recent Exhibitions
The Apex Is Nothing
Curated by Ken Weathersby and John O’Connor
April 5–June 8, 2024
Opening Reception: Thursday, April 4, 6–8 pm
Learn more about the exhibition through the Exhibition Catalogue and the Virtual Tour.
This exhibition was inspired by Alfred Jensen, whose paintings and drawings maintain a center of energy between abstract form and an array of idea structures. Jensen’s thinking was shaped by his deep interest in realities outside of the strict visual concerns of painting or drawing, such as philosophy, physics, mathematics, and calendrical time. The other featured artists in The Apex Is Nothing similarly draw upon diverse systems, including statistical data, language and text, and mapped social or political matrices.
Featured Artists:
Mel Bochner
Becky Brown
Mike Cloud
Charles Gaines
Xylor Jane
Steffani Jemison
Alfred Jensen
Ellen Lesperance
Chris Martin
John O’Connor
Bruce Pearson
Leslie Roberts
Jorinde Voigt
Melvin Way
George Widener
The New Village: Ten Years of New York Fashion
Curated by Jennifer Minniti, Chair, Fashion, and Matthew Linde, Ph.D.
January 22 – March 16, 2024
Public Reception: Thursday, February 8, 2024, from 6-8pm
Learn more about the exhibition through the Exhibition Catalogue and the Virtual Tour.
The New Village: Ten Years of New York Fashion focuses on a scene of artists and fashion designers from the past ten years who have, in niche ways, re-established New York as a site for experimental fashion. By understanding the commercialism that has traditionally defined New York’s fashion industry, this exhibition points to an alternative history and suggests how an amorphous group of practitioners reshaped the fashion capital from the fringes.
ALL-IN
Bernadette Corporation x Supreme
Camilla Carper
CDLM
CFGNY
Susan Cianciolo
Eckhaus Latta
Gauntlett Cheng
Giovanna Flores
Lou Dallas
LUAR
Jessi Reaves
Section 8
SC103
Beverly Semmes + CarWash Collective
Martine Syms
Telfar
Vaquera
Elena Velez
Women’s History Museum
Amazonia
Berta Sichel, Curator
Patricia Capa, Assistant Curator
September 29 – December 9, 2023
Opening Reception: Thursday, September 28, 6-8pm
Learn more about the exhibition through the Exhibition Catalogue and the Virtual Tour.
Amazonia builds on the premise that addressing environmental challenges requires both ecological knowledge and cultural articulation. Drawing inspiration from Greg Garrad’s book “Ecocriticism,” which offers critical insights into diverse perspectives on the natural environment, curator Berta Sichel and Patricia Capa, assistant curator, have crafted an engaging and thought-provoking experience that invites viewers to contemplate the complex relationship between humanity and nature.
Exhibiting Artists:
Javier Andrada, Claudia Andujar, Barbara Brändli, Federico Guzmán and Andrés Corredor, KIMIKA, Margaret Mee / Malu De Martino, Susana Mejía, Simone Michelin, João Musa, pablo sanz, and Sergio Vega
There is a Certain Slant of Light
Curated by Seph Rodney
June 21 – September 6, 2023
Opening Reception: Tuesday, June 20, 6-8pm
Learn more about the exhibition through the Exhibition Catalogue and the Virtual Tour.
Kate Butler, Guanqi Chen, Katie Croft, Naomi Frank, Devin B. Johnson, Kosuke Kawahara, Hiu Ching Leung, Weijia Lizzy Li, Katelynn Mai-Fusco, Samantha Morris, Jean Oh, Natalia Petkov, Rob Redding, and Erik Wangsvick
This exhibition explores the poetic use of light in painting, photography, and multimedia artworks. The selected artwork encourages viewers to appreciate the meaning and significance of light and to allow luminescence into their lives. The exhibition showcases a talented and diverse group of Pratt alumni, all of whom earned an M.F.A. in Fine Arts between 2018 and 2022.
Seph Rodney, PhD, is a former senior critic and opinion editor for Hyperallergic. He has written for The New York Times, CNN, MSNBC, and other publications. He is featured on the podcast The American Age. His book, The Personalization of the Museum Visit, was published by Routledge in 2019. In 2020 he won the Rabkin Arts Journalism Prize. In 2022 he won the Andy Warhol Foundation Arts Writers Grant.
Driving Creative: Pratt Institute, General Motors, and the Foundation of Industrial Design
On view: April 5-May 20, 2023
Learn more about the exhibition through the Exhibition Brochure andVirtual Tour.
This exhibition highlights the enormously talented designers and sculptors, trained by Pratt and hired by General Motors Design, whose creative vision shaped the look of American life in the twentieth century, and the natural relationship formed between these two organizations in the 1940s that would result in an unimagined creative output that continues today.
This exhibition is presented in partnership with General Motors, Pratt Exhibitions, and Institutional Advancement.
Hsin-Chien Huang: The Data We Called Home
Curated by Professor Linda Lauro-Lazin, assistant chair, Department of Digital Arts
Opening reception: Thursday, September 22, 6-8 PM
On View: September 23, 2022 – March 4, 2023
Real 2.0: Artists Discuss Immersive Art in the Virtual Landscape
Barbara London moderates an expansive conversation on how artists have appropriated the medium of virtual reality to create immersive artworks.
Alongside moderator Barbara London, panelists including Mattia Casalegno, Hsin-Chien Haung (via Zoom), and Rachel Rossin discuss the intersections of virtual reality, technology, body, mind, and art.
The panel Real 2.0 was recorded on January 30, 6:30pm (ET), in Room 201 at Pratt Institute on 144 West 14th Street.
Exhibition Catalog
Learn more about the exhibition through the Exhibition Catalog and Virtual Tour.
Pratt Manhattan Gallery is pleased to announce its inaugural exhibition showcasing the work of multi-disciplinary artist Hsin-Chien Huang. The show opens on September 23, 2022 in Pratt Institute’s newly renovated gallery space at 144 W 14th Street in Chelsea.
Curated by Linda Lauro-Lazin (Pratt Institute’s Assistant Chairperson of Digital Arts, Adjunct Professor), Hsin-Chien Huang: The Data We Called Home is the artist’s first New York City solo show. The exhibition will remap Taiwanese folklore, the ethics of digital surveillance, space exploration and the body-mind dichotomy across different media, and will feature a seminal collaboration with artist Laurie Anderson.
The exhibition will highlight the broad scope of Huang’s complex body of work, featuring virtual reality films, sculptures, and videos that present new perspectives on the immersive possibilities of mixed media art practices.
Special thanks to the Taiwan Ministry of Culture; Taiwan Creative Content Agency; National Taiwan Normal University; Department of Cultural Affairs, Taipei City Government; Kaohsiung Film Archive; and Fou Gallery, Brooklyn, NY for supporting the artist
VR hardware support provided by VIVE Studios and VIVE Arts
Artist Bio:
The artist considers stories to be guides for reimagining his life. At the age of 4, Huang lost sight in his right eye. At 14, the cornea from a donor in Sri Lanka brought light back to the eye that had been veiled for a decade. Ever since then, the world he sees is in part through the eye of this unknown deceased person. This experience was extremely enlightening for the artist: life and flesh now seem interchangeable. His corporeal flesh no longer belonged to him; instead, it transformed into a mysterious vessel where one rests temporarily. After he came of age, he registered as an organ donor and imagined how the cornea in his right eye may continue its journey to another one’s body, continuing its gaze upon the world after his death.
Huang brilliantly draws upon this sense of enlightenment to interpret stories through large-scale interactions between performance, mechanical apparatuses, algorithmic computations, and video installations that also reference history, and point to a greater potential for humanity. He is also committed to interdisciplinary STEAM education as a distinguished professor at the Department of Design, National Taiwan Normal University.
In recent years, Huang’s revolutionary VR works have attracted international attention and won a variety of awards. His VR film Chalkroom, made in collaboration with Laurie Anderson, won the Best VR Experience Award at the 74th Venice Film Festival in 2017. Bodyless won an Honorable Mention at the 2020 Ars Electronica Festival and the Golden Mask at the Newimages Festival in Paris. His new work Samsara won the Jury Award at the Texas SXSW Festival in the United States, Grand Prize for the Best VR Narrative at the Cannes Film Festival XR category and Honorary Mention in the Computer Animation category at Prix Ars Electronica.
The Work of Love, the Queer of Labor
Curated by Olga Kopenkina
On View: June 24-August 20, 2022
Opening Reception: Thursday June 23, 6-8 PM
Learn more about the exhibition through the Exhibition Brochure and Virtual Tour.
“The Work of Love, the Queer of Labor” is an exhibition of drawing, photography, video, posters, and installations that explores both historical and imagined connections between queer and left activism. By reviewing queer identities from the class perspective, and class identities ––through queer sensibilities, the artists in the show rediscover political potentialities within today’s LGBTQI+ cultural paradigm(s). The exhibition also links today’s queer activism to the history of gay and lesbian liberation movements, which entertained the faith that people can build a self-regulating worker’s society by liberating both love and labor––in opposition to a commodified and exploited homosexual body. The artists included in the show come from diverse geographic locations and historical backgrounds, such as South Africa, Russia, Estonia, USA, the Netherlands, Sweden, and Canada.
Exhibiting artists: Angela Beallor, Daughters of Bilitis/Kay Lahusen, Dyke Action Machine!, Yevgeniy Fiks, Gay Liberation Front/Peter Hujar, Hugo Gellert, Noam Gonick, Hagra, Harry Hay, William E. Jones, German Lavrovsky, Erik Moskowitz + Amanda Trager, Zanele Muholi, Jaanus Samma, Aliza Shvarts, Werker Collective + Georgy Mamedov, and Yes! Association/Föreningen JA!
Image credit:
Noam Gonick, 1919, 1997, 35 mm film (8:25 min) transferred to digital, single-channel video
Photo credit: Szu Burgess
Courtesy of the artist
Chromotherapy in an Age of Doubt
Fine Arts MFA Alumni 2020 Exhibition
May 17 – June 4, 2022
Visit the exhibition virtually!
Opening Reception May 16, 6 – 8 PM
Registration required (Pratt Community and Guests)
Registration to vist May 17-June 4, 2022
Curated by Yasmeen Siddiqui
By default, and by design, we bring together a wildly diverse selection of works by artists who completed the Graduate Fine Arts program at Pratt Institute in 2020 at the height of the pandemic. They have gone on to forge pathways that surprise in our era. For today, their works are cast as a colorful array to remind us of what it is to move in a space where light and color are beyond our control.
Participating Artists:
Hannah Celli
Jin Yong Choi
Katie Croft
Dewy
Ambrus Gero
Evelyn Golden
Spencer Harris
Jennifer Chia-Ling Ho
Dasol Hong
Rodrigo Jimenez-Ortega
Kosuke Kawahara
Kunyi Lin
Josh Meillier
Emmett Metier
Duff Norris
So Ye Oh
Yaw Owusu
Amber Peck
Na’ye Perez
Cass L Rinsler
Robert Scherier
Jackie Slanley
Allie Stabile
Caito Stewart
Talia Tamar
Alyssa Thornton
Chao Wang
Angelica Yudasto
Meirav Zaks Zilberman
Image Credit:
(Left) Na’ye Perez, Laugh Now Cry Later, 2021. Acrylic, spray paint, swishers, backwoods, MTA cards, newsprint, plastic packaging, gel transfers on canvas, 50 x 54 inches. Courtesy of the artist and REGULARNORMAL.
(Right) Jackie Slanley, guards 1, 2022. Plexiglass and hardware, 17 x 11 x 3 inches. Courtesy of the artist.
Visit the gallery now virtually to view the current exhibition, and access the digital exhibition brochure here.
From Forces to Forms
Curated by Ellen K. Levy
February 1 – April 27, 2022
David Rothenberg: UNDERSOUND
April 14, 6 – 8 PM; Performance will begin at 6:30 PM
Join us for a musical performance by David Rothenberg, jazz clarinetist, and composer, in conjunction with the exhibition.
Register to attend (for Campus Guests).
The performance will be streamed live on Instagram @prattexhibits
From Forces to Forms Talk Series; in collaboration with UCLA Art|Sci Center, Saturday’s April 2, 9, and 16. More information to attend the online talk HERE
Zoom Panel Discussion
February 15, 6PM EST
Art Today: New Growth, New Form at Pratt Manhattan Gallery, moderated by Ellen K. Levy & Patricia Olynyk, with science writer Philip Ball, chemist Bart Kahr, artist Ursula Endlicher. Organized in collaboration with NY LASER talks.
To view the video from the talk, visit: Art Today: New Growth, New Form at Pratt Manhattan Gallery
Presented at Pratt Institute’s Manhattan Gallery and curated by Ellen K. Levy, a multimedia artist, scholar, and past president of the College Art Association, “From Forces to Forms” explores the nature of form by engaging with the potent forces and processes of nature. By investigating how physical laws shape living and nonliving forms alike — ideas first proposed by D’ Arcy Thompson in his classic tome “On Growth and Form” (1917) — the exhibition explores universal principles of organismic development while delving into the flux and perturbations that characterize life today.
Reflecting Pratt Institute’s commitment to interdisciplinarity, “From Forces to Forms” features works by 19 artists and designers whose practices draw from both art and science and articulate a shared commitment to creating a more sustainable world. These works consider the implications of form generation through a variety of media (from analog to digital), at different scales (from subatomic to macroscopic), and in varied contexts (from prebiotic to ecosystems).
Including Artists:
Ricci Albenda
Gemma Anderson
Tauba Auerbach
Lillian Ball
Adam Brown and Robert Root-Bernstein
Marta de Menezes and María Antonia González Valerio
Janet Echelman
Ursula Endlicher
María Elena González
Haresh Lalvani
William Lamson
Oliver Laric
Christy Rupp
Todd Siler
Paul Thomas
Meredith Tromble
Victoria Vesna
@prattexhibits #FromForcestoForms
This project was made possible in part by Pratt Institute’s STEAMplant Initiative.
2021 Film/Video Senior Showcase and Community Quilt, Fashion Class of 2021
Pratt Institute Fashion Department: Windows (exterior) and Front Gallery
Pratt Institute Film/Video Department: West Gallery
Community Quilt, Fashion Class of 2021
July – October 2021
Community Quilt celebrates the Pratt Fashion Department Class of 2021 and highlights three recent graduates, Samara Huggins, Keyin Wang, and Miray Atakan from July – October 2021. Starting August 30, 2021, Miray Atakan’s work is featured in the Windows; Keyin Wang’s work is featured inside the gallery; Samara Huggins work is featured at the Brooklyn main campus, in the Fashion Department display.
The film Community Quilt on view represents a virtual coming together and celebration of the work of Pratt Fashion seniors who continued their final year of studies with the challenges of virtual learning due to the COVID-19 pandemic.
Including: Jillian Arzoomanian, Miray Atakan, Sabrina Brokenborough, Jasmine Bryant, Zimu Cai, Abby Chen, Yuhan Chen, Tamara Cohas, Lara Darling, Elizabeth Difiglia, Alyssa Domenico, Marissa Giordano, Erin Hayes, Junyang He, Samara Huggins, Sarah Howland, Emilia Kaplan, Caroline King, Katrine Kirsebom, Matina Kulusic, Ieok Kio Lam, Xinyu Mao, Madelen Nyau, Dong Hyun Oh, Xue Pan, Yixin Ren, Sophia Simonds, Leihan Tang, Bettina Wagner, Keyin Wang, Yutong Wang, Songlan Wu, Jiajie Xu, Wen Xu, Ziling Xu, Xinyao Ye, Hanxiao Zhang, Vicky Zhou, and Zikun Zhu.
2021 Film/Video Senior Showcase
August 30th – October 2021
On view for the first time altogether, Pratt Manhattan Gallery presents the 39 film/video projects from the 2021 Film/Video graduates.
Including Directors: Jianhao An, Tamia Bailey, Fiona Bailey, William Bermudez, Thos Brown, Aaron Buckley, Mylo Butler, Amos Chiu, Gianna Cullen, Justin Dorazio, Ben Ettlinger, Matthew Francescani, Sam Friedman, Caden Ghen, Kelley Grade, Alexander Hashim, Abraham Howard, Griffin Kaiser, German Kuzyura, Erika Larson, Calyssa Lavery, Trevor Legeret, Alex Leombruno, Matt Loudon, Shannon Jo Lyons, Nicole Majewski, Begum Malkoclar, James Orr, Yajarrah Paul, Cole Raser, Rego, Mia Russell, Vinny Sacchetti, Yessenia Sánchez, Jake Schwartz, Allison Sirota, Adam Sosnicki, Katrin Spiridonova, and Peter Steininger.
Political Intimacy
Exhibition on View at Pratt Manhattan Gallery Window
Pratt Fine Arts, Civic Engagement Series
On view April 29 – June 22, 2021
Program Launch on April 29th at 7pm, Online
A collaboration with Recess: Assembly artists and peer leaders Saint Forza, Tyra Gibbs, Princess Kelly, Geremia Romain, and Darrell Santana.
Curated by Amy Khoshbin, Fine Arts Civic Engagement Fellow, with Brooklyn Engaged: Erin Benard, Taylor Dean, Alexis Laneuville, Malena Ramsey, and Zichen Oliver Yuan.
Participating Candidates & Representatives: Erik Bottcher, Jabari Brisport, Phara Souffrant Forrest, Michael Hollingsworth, Crystal Hudson, Kristin Richardson Jordan, Paperboy Prince, and Jumaane Williams.
Artists on View: The Brothers Sick (Ezra and Noah Benus), Elektra KB, Ellen Coleman Izzo, Sarah Kanu, Olek, Paperboy Prince, Steve Powers, and Matisse Robinson.
Political Intimacy demystifies and humanizes the process of running for local office through a series of video interviews between local political candidates and representatives, Recess: Assembly participants, and Pratt Institute students. An aligned exhibition at Pratt Manhattan Gallery also tackles questions regarding some of the most pressing issues at the citywide level.
For more information, click here.
Thank you to the Pratt Studio in Social Practice students, Pratt Electoral Working Group, Recess Art, and NYPIRG.
Wish We Were Here
The Department of Digital Arts presents recent projects by M.F.A. graduates.
On View: March 9 – April 7, 2021
Including Jack DiLaura, Suzi Hyun, Sumin Lee, Zoe Li, Tong Lin, Noth (Qinyuan) Liu, MK Luff, Ofer Shouval, Mohit Shukla, and Jake Wright.
“Wish We Were Here is a group exhibition by recent Digital Arts MFA alumni separated by the pandemic. This exhibition creates experiences that provide audiences agency to explore critical issues in this unique moment in time. The artwork in this exhibition demonstrates a nuanced understanding by these artists of interactive installations and objects, digital images, video, animation, and digital mixed media. We are proud of the accomplishments of this group and of all our Digital Arts alumni whose work can be found featured in important publications, collections, galleries, museums, and new media institutions.”
Peter Patchen, Chair Digital Arts and Animation
While we remain closed to the public, many of the works can be seen from the street! A free exhibition brochure will be published this spring and posted on this website.
New Old: Designing for our Future Selves
February 7–May 23, 2020
Opening Reception: Thursday, February 6, 6–8 PM
In Conversation: Jeremy Myerson, Helen Hamlyn Professor of Design
Royal College of Art with Pattie Moore, designer, and author of “Disguised a True Story”
Friday, February 7, 5–7 PM
Room 213 adjacent to the gallery
To download the free Pratt Manhattan Gallery exhibition brochure, click here.
NEW OLD examines how innovation and design can reimagine how we live the later stages of our lives. Set against a backdrop of radical demographic change, the exhibition looks at how design can help people lead fuller, healthier, and more rewarding lives into old age, asking the question: how can designers meet the challenge of a rapidly aging society? From robotic clothing to driverless cars, this exhibition rethinks design approaches to aging.
Curated by Jeremy Myerson, Helen Hamlyn Professor of Design at the Royal College of Art, the exhibition presents creative, provocative, and engaging concept designs across six themes: Ageing, Identity, Home, Community, Working, and Mobility.
Alongside infographics, videos and existing physical exhibits, each section features a special design commission by a leading designer or design team. New projects by Yves Béhar /Fuseproject and Superflex, Konstantin Grcic, Future Facility, Special Projects, IDEO, and PriestmanGoode create solutions for demographic change and address the challenges of aging.
This installment is updated with work by five faculty members from Pratt’s School of Design, including Andrea Katz, Karol Murlak, Mitchell Reece, Alex Schweder, and Keena Suh, along with additional US-based projects.
A touring exhibition from the Design Museum, London, in partnership with the Helen Hamlyn Trust. Sponsored by AXA PPP Healthcare with additional support from Versus Arthritis. NEW OLD is sponsored by The Achelis & Bodman Foundation at Pratt Manhattan Gallery.
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2018-07-22T23:32:39+01:00
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Posts about Cyril Thornton written by Robert
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https://secure.gravatar.com/blavatar/c192bf0545842b090a1c655012a4574120c75c0f985b215a9ec075802b2d3bd0?s=32
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Roaringwater Journal
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https://roaringwaterjournal.com/tag/cyril-thornton/
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It may seem strange to commemorate ‘The Great Hunger’ – the Irish famine years of 1845 – 1849 – with an art exhibition. Yet, when we look back on that time, 170 years ago, the only possible reaction to the starvation, mass graves and wholesale emigration which happened within the boundaries of the great British Empire (and not too far from its capital) is raw emotion: it’s a subject that can’t be intellectualised. The 1.4m high work above, by bog oak sculptor Kieran Tuohy from County Galway, is an example of an emotional response: hands hold up a group of anonymous and vulnerable figures.
John Coll’s piece, Famine Funeral (above), is also evocative. The exhibition at Uillinn in Skibbereen opened on Thursday and attracted a large and excited crowd; since then, record numbers of visitors have come daily to the town’s iconic gallery. The work is all from Ireland’s Great Hunger Museum at Quinnipiac University in Connecticut, which has the largest collection of Great Hunger-related art, and will be shown here in West Cork until 13 October.
Skibbereen was one of Ireland’s worst affected towns during the famine years, which makes the visit of this exhibition entirely appropriate. It has shown that our gallery is able to display a collection such as this of the highest calibre, giving the community an asset unique in rural Ireland. All credit must go to the Director, the staff and the Board of the West Cork Arts Centre who have worked hard to raise funds and make all this possible. Also Cork County Council have to be commended for finishing off the flood relief works and the associated landscaping around the gallery in time for the opening: Uillinn now features a significant architectural setting in the town centre. The photographs above were taken outside and inside the building on opening night.
With some exceptions (Glenna Goodacre’s bronze – Famine – is one, above), I am only showing extracts from the works in this review. The whole exhibition is so powerful that it has to be seen in real life, so I’m hoping that these tasters will persuade you to visit.
The artist Micheal Farrell (1940 – 2000) is well represented in the Quinnipiac Museum and some of his works have come to Skibbereen, including the enormous Black ’47 (4.5m wide and 3m high) a detail of which is shown in the upper picture above, with a detail from The Wounded Wonder below it. The Irish Times described Farrell’s largest work:
. . . Farrell’s canvas seems to float on a wall by itself in the museum. It is the trial of Charles Trevelyan, the British official who was in charge of Famine relief. Trevelyan stands in a searchlight shaft, a hand on one hip, embodying the arrogance of empire. The prosecutor gestures towards Irish skeletons rising from an open grave, evidence against the man who called the Famine “the direct stroke of an all-wise Providence” and a “mechanism for reducing surplus population” . . .
Dorothy Cross – Basking Shark Curragh (a comment on the vulnerability of Irish coastal communities in famine times) with Micheal Farrell’s The Wounded Wonder and Kieran Tuohy’s Thank You to the Choctaw beyond.
Also extracts: the upper image is from a powerful bronze work – The Leave-Taking by Margaret Lyster Chamberlain – and the lower image is part of The Last Visit by Pádraic Reaney.
Lilian Lucy Davidson’s Gorta (upper image) and Hughie O’Donoghue’s On Our Knees (lower) are both powerful statements on hunger and our own attitudes to the problems of the contemporary world.
At the opening of Coming Home – Art and The Great Hunger – Cyril Thornton, Chairman of the West Cork Arts Centre made the following observations:
. . . We are formed by our memories, experiences, the voices of our ancestors carried through the ages that carry into the soul of who we are. When we refuse to listen to the voices of the past or learn from our ancestor’s achievements and mistakes we lose a piece of our soul.
In a world that appears to becoming more soulless and intolerant it is now more important than ever to shine a light on our past for another generation, not to blame or recriminate but to help them to shape a world where humanity will never accept that injustice, poverty or hunger can be imposed on those in need of support.
The memory of the death of over 1 million people and the subsequent emigration of another 1.5 million defines us as a nation. The bringing home of this exhibition in many ways is a cultural reconnection. Art in all its form captures emotions and feelings, this exhibition in so many ways captures the tragic emotion of An Gorta Mór – The Great Hunger . . .
Detail from William Oliver Williams The Irish Piper 1874. Although painted after the ravages of The Great Famine this picture is said to imply that, despite hardship, the joyful side of Irish life was always irrepressible . . . whatever the occasion there was music and dancing . . . Below – powerful juxtaposition: a Rowan Gillespie figure seen against West Cork artist William Crozier’s Rainbow’s End.
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Voice Teacher Training & Certification
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Genevieve was born and raised in Singapore where her musical grounding was formed in classical piano. She is a Licentiate with the Associated Board of the Royal Schools of Music (London) and holds a Master of Art from the National University of Singapore. She is a certified graduate of New York Vocal Coaching's Teacher Training Program.
Genevieve’s calling to be a singer-songwriter was birthed after a pivotal and challenging time in her life when her father passed. She moved to New York City in 2014 and over the years, established a unique artistic identity with her blend of piano pop rock, neo mellow, indie acoustica, urban contemporary and Christian worship styles of writing and music production. She has produced and published 5 records as well as several EPs and singles. The more she created, the more she felt led to step fully into her identity as an artist who is called to minister edification, testimony and truth. Today, Genevieve conveys her art with a passionate voice on stage and in the recording studio. She also shares her joy and craft as a dedicated voice teacher and mentor to countless other singers and aspiring musicians. She currently resides in Brooklyn, New York with her husband and two children.
Lindsay Mendez is currently one of the stars of the CBS drama "All Rise." She received a 2018 Tony Award for Best Featured Actress in a Musical, as well as the Drama Desk Award and Outer Critics Circle Award, for her performance as Carrie Pipperidge in the 2018 Broadway revival of Carousel. Other Broadway credits include: Significant Other, Wicked (Elphaba, 10th Anniversary company), Godspell, Everyday Rapture, Grease. Off-Broadway/regional credits include:The Golden Apple (City Center Encores!), Dogfight (Second Stage; Drama Desk, Drama League, and Outer Critics Circle nominations), The Rose Tattoo (Williamstown Theatre Festival), 35mm, The Winter’s Tale (Delacorte Theater). Other Television: "Elementary," "The Helpsters," "Modern Family," "Murphy Brown," “Smash.” Debut album: This Time. Her concert work includes appearances with Lincoln Center’s American Songbook, the Kennedy Center, the Library of Congress, Lyrics and Lyricists, and the American Pops Orchestra. In 2012, she co-founded Actor Therapy, a training and mentorship program that she currently runs both in New York City and online, with composer Ryan Scott Oliver. She also has a private vocal studio that she runs both out of NYC, LA, and online.
Marcelo Saldias O’Hrens is a Chilean Speech-Language Pathologist specialized in voice therapy and voice training. He graduated from the University of Chile in 2008.
He completed a specialty diploma in Vocology and a specialty diploma in Research Ethics in Humans at the University of Chile (2016 and 2019, respectively). Currently, he is a Ph.D. student of the Doctoral Program of Vocology at Tempere University, Finland, with Dr. Anne-Mari Laukkanen as his advisor.
Research His line of research is related to the vocal economy in Contemporary Commercial Music technique. This line of research emerges from the lack of information about how economical are the exercises currently used to train CCM singers, and the need for counting with specific training methods in order to achieve the unique vocal demands of singers in a healthy way. He has published several scientific articles on this topic and is currently working on the research project “Contribution of twang to vocal efficiency and economy in contemporary commercial music singers” at the University of Chile.
Additional Training Also, Marcelo has been certified in the voice therapy programs developed by Dr. Katherine Verdolini-Abbott (Lessac-Madsen Resonant Voice Therapy, Casper-Stone Confidential Flow Therapy, and Adventures in Voice). In terms of vocal performance, Marcelo completed the Voice Teacher Training Program at the New York Vocal Coaching Studio in New York City, with Mr. Justin Stoney as his mentor. Professional Affiliations In 2017, he became an Authorized VIP Instructor (Vology in Practice). Later, from December 2019 to March 2020, he served as a board member of Vocology in Practice. Currently, Marcelo is a member of PAVA (Pan American Vocology Association) and The Voice Foundation.
Current Work In Chile, Marcelo works as an Assistant Professor in the Department of Communication Sciences and Disorders at the University of Chile.
Additionally, he is a Clinical Professor of the School of Communication Sciences and Disorders at the University of Chile, where he supervises SLP undergraduate students in the Vocal Academy of Chile and the Clinical Hospital of the University of Chile.
Marcelo is also a contributor for VocalPedagogy.com.
Carla Stickler is a New York City based actress and voice teacher. She has performed the role of Elphaba in Wicked on Broadway and theaters throughout the United States. She has toured both nationally and internationally throughout Canada and Asia with multiple shows.
Having grown up in her Grandmother's voice studio in the Fine Arts Building in Chicago, she was originally trained in a traditional bel canto style of singing and spent many of her early years studying classical music. She sang in a Children's Choir from an early age, and the spent her summers and senior year of high school studying musical theatre and opera at Interlochen Arts Camp and Academy. Carla trained for a year in Opera at Cincinnati Conservatory of Music before undergoing surgery for a cyst on her vocal chords. This traumatic event has shaped who she has become as a singer and teacher. Shifting her focus to musical theatre and regaining the confidence to sing was a long battle that has given her the strength to be the kind of singer she is today and has inspired her teaching immensely. Having successfully made the shift to musical theatre and learning how to belt, Carla loves working with opera singers who are trying to create that Broadway sound in a healthy manner. However, her voice studio is currently comprised of students from all walks of life ranging from ages 9-65. She truly believes anyone can sing and loves guiding her students through this journey of discovering their true potential.
She holds a BFA from NYU's Tisch School of the Arts and is currently working toward her Masters in Educational Theatre in Colleges and Communities at NYU's Steinhardt School of Education. She works closely with the Educational Theatre Association creating and performing in concerts with high school students from around the country to raise scholarships for students in theatre. She attends the International Thespian Festival every summer to teach workshops in musical theatre and judge musical theatre competitions. She is honored to have participated in the New York Vocal Coaching 40-hour Teacher Training last spring. Justin Stoney has blown her away with his knowledge of the human voice and changed her own views on how we should train singers to sing.
Nicolás Hormazábal is a singer, singing voice researcher, and above all, a teacher, student and lover of vocal pedagogy. For years, he has specialized in vocal distortions and extreme voices. This has led him to gain international recognition by being accepted into different congresses and entities such as PAVA (Pan American Vocology Association), The Voice Foundation, and more:
Founding member and Vice President (2021) of APROCAN Chile
Founding member of PAVA Chile
Vocals/Screams in Nous (Chile)
Abby Payne is a Brooklyn based musician and teacher. She has been performing and teaching in New York City for more than a decade, having released four albums of her original music (and currently at work on the fifth). She has performed at venues like Rockwood Music Hall, Mercury Lounge, and Joe's Pub, and has written and performed a full length musical ("The Gunfighter Meets His Match"), which continues to grow and evolve.
Payne received a Bachelor of Music from SUNY Purchase, where she majored in Jazz Studies. She has been teaching private voice and piano lessons since then. She is also on the faculty of Church Street School for Music and Art, where she directs both the Southbridge Seniors Chorus and the Battery Park City Adult Chorus.
Adriana is a voice teacher from Albuquerque, New Mexico who enjoys sharing the magic of music with her students. She has lived throughout Europe, and speaks fluent Spanish.
Adriana has been studying music since she was a child, and started with piano before moving onto voice. She is a classically trained singer, although she enjoys singing other genres as well, such as jazz and R&B. She teaches all genres from contemporary to classical.
Adriana is a kind and compassionate person who is passionate about voice, and she feels that it is her purpose to share that with others.
Aliki Katriou is a metalhead based in Croatia. She has an extensive knowledge of classical technique, contemporary styles and extreme vocals. Since 2013, she has been teaching voice to students from around the globe in many different genres, her specialty being sub-genres of metal.
Aliki is known as the vocalist and lyricist for her band, Eight Lives Down, as well as the critically acclaimed Greek metal project Desolate Plains.
She has furthered her training as an advanced voice teacher with world-renowned authors Dr. Gillyanne Kayes and Jeremy Fisher of Vocal Process. She has trained in Vocal Massage and Laryngeal Manipulation with Stephen King and Walt Fritz. In 2023, she completed the full pathway of 'Vocal Rehabilitation Specialist' with Dr. Jenevora Willams, Stephen King and the team from Vocal Health Education. Drawing from her broad knowledge and experience as a metal singer, Aliki aims to provide a safe space for singers who have sustained injuries and help them regain the confidence and skills needed to continue their careers.
Amy has enjoyed a varied performance career in Musical Theatre since graduating from The Indiana University Jacobs School of Music in 2006. She has been seen across the country on the first national tour of The Bridges of Madison County (music and lyrics by Jason Robert Brown, directed by Bartlett Sher). In addition to both regional and local appearances in musicals, Amy is a favorite singer of many NYC composers, known for her wide vocal range and advanced musicianship. Amy has performed in countless presentations, labs, workshops and concerts and recorded dozens of professional demos for students and graduates of the NYU Tisch Graduate Musical Theatre Writers Program and the BMI Workshop. Recently, Amy was featured on the demo recording of the in-progress musical The Magnificent Seven about the 1996 Olympic women's gymnastics team, written by Gordon Leary and Julia Meinwald. Amy has been seen onstage in NYC at nearly every cabaret venue, including 54 Below, Ars Nova and Joe's Pub. Amy is currently working on a yet-to-be-disclosed TV project as a series creator, writer and star.
As a direct result of her completion of the New York Vocal Coaching Teacher Training Course, Amy has now joined the Vocal Tech staff at Musical Theater College Auditions (mtcollegeauditions.com), where she will coach and guide high school juniors and seniors as they prepare to audition for the country's best musical theatre programs and follow their dreams. More info and media at amy-linden.com.
A New York City based actress, Amy Londyn began performing at the age of three. Since moving to NYC in 2010 she has performed in Manhattan and Brooklyn, produced her own shows and worked in theatre, television and film. She continues to study her craft in classes and private lessons. She is also works as a private Voice Teacher after being a certified thanks to New York Vocal Coaching and the NYVC Voice Teacher Training & Certification program.
André is a vocal coach based out of Eastern North Carolina! He has been a singer his whole life. Whether he was at church leading worship, at school singing in chamber choir or just at home doing everyday things, you could always catch him singing! André had plenty of experience with performance and using his voice but teaching voice was a space of music he had never walked into. Fortunately, he had the amazing opportunity to learn and grow as a teacher under the leadership of Justin Stoney at NYVC! It has truly pushed André to move forward with sharing the gift of music with others and now he has people seeking his help to build their vocal skills!
Andy King is a voice teacher, actor, and music director from New York City. He graduated from the University of Nebraska-Lincoln with his Bachelors of Music in Voice Performance and earned his Master's of Music in Music Theatre at The Boston Conservatory.
Andy has been teaching voice for eight years, from the Midwest to the East Coast. Before moving to Boston he was on the adjunct faculty at Iowa Western Community College. In addition to being a private voice instructor at the college, he also created, implemented, and taught a music theatre techniques class. He is currently a private voice teacher in New York City.
As a music director, Andy has played for and conducted Urinetown with the Secret Theater, Bloody, Bloody Andrew Jackson with 5th Floor Productions and two productions of the new musical Kingdom Come.
Andy has also been active as a professional actor. He spent the last year in the cast of the Camelot National Tour. Other favorite roles include Austin (I Love You Because), Cinderella's Prince (Into The Woods), and Curly (Oklahoma!).
Andy has extensively studied vocal pedagogy with Justin Stoney and has completed certification of Voice Teacher Training at New York Vocal Coaching as well as studied voice with Kevin Wilson at The Boston Conservatory.
Brendan Houdek (M.A., CCC-SLP) is a senior instructor at New York Speech Coaching. He specializes in effective business communication, executive presence, and vocal production. His teaching emphasizes control over one’s speaking abilities to be utilized as they see fit in any speaking situation. His training covers not only the physiological aspects of speech production, but also presentational performance and psychological perspective work.
Brendan’s clientele consists of individuals and groups from Google, Disney, Forbes, Nasdaq, Deloitte, PricewaterhouseCoopers, Capital One, MetLife, and McGraw-Hill. Brendan’s private clients include C-suite executives, politicians, doctors, dentists, accountants, lawyers, journalists, law enforcement officials, architects, TV executives, actors, musicians, art curators, literary agents, engineers, psychologists, software developers, and more.
In addition to his work as a speech coach, Brendan is a NYS-licensed and ASHA-certified speech-language pathologist, specializing in voice and fluency disorders. He is the head of New York Speech Pathology. His in-depth understanding of vocal anatomy and physiology assists his coaching by enabling him to provide speakers with healthy and efficient vocal technique.
Brendan also is a singer, multi-instrumentalist, and voice impressionist, hosting the show Voice Breakdown on YouTube. These skills further enable him to have deep insights into the voice and performance.
Brian Lin has undergone extensive training with certifications in the Speech Level Singing (SLS)* and New York Vocal Coaching (NYVC)** techniques. He is an active member of the National Association of Teachers of Singing (NATS).
An avid lover of music, Brian graduated top 10% of his class from the University of Southern California Thornton School of Music.
Most notable mentors include:
Seth Riggs former teacher of Michael Jackson, Stevie Wonder, and James Ingram
Aaron Hagan teacher of Ariana Grande, Selena Gomez, and Ray Dalton
Richard Fredricks former principal baritone of Metropolitan Opera
Justin Stoney founder of New York Vocal Coaching
Greg Enriquez former Master Instructor at Speech Level Singing
Lorna Emata Goodwin Level 5 Instructor at Speech Level Singing
Brian's teaching style focuses heavily on the intersection of vocal science and artistry. He is also bilingual in Chinese and English and teaches in both languages. Most recently, he helped Brian Littrell (Backstreet Boys) prepare his voice before the Backstreet Boys Vegas Tour.
*The SLS technique is one of the most famous singing techniques worldwide and has been studied by over 120 Grammy Award winners under the tutelage of founder Seth Riggs. Brian was a certified instructor of SLS for four years, from 2009 to 2013.
**The NYVC technique is studied by a wide range of professional singers ranging from Broadway actors to Metropolitan Opera soloists, and has combined the best tools and techniques from Bel Canto, SLS, and Complete Vocal Technique (CVT) techniques.
Camilla DeFaria is a voice teacher, vocal coach, singer, songwriter, and co-founder of the award-winning Radical Coaching Studios located in Maryville, TN, where she resides with her husband, Rafael DeFaria.
She is an alumna of Berklee College of Music, where she received her music degree, and is currently pursuing her master’s in Voice Pedagogy with a focus on Musical Theater from Westminster Choir College of Rider University, one of the world's leading schools of music. Continuing her educational growth is very important to her as she strives to provide the best, most current, and science-based knowledge to all her clients, while creating a safe and inviting atmosphere where students of all ages, levels, and backgrounds can feel confident to learn and encouraged to develop their full potential.
Accumulating over 20,000 hours of vocal coaching for live performances, musicals, studio recording, auditions, and vocal health, her clients range from recording and performing artists in the Miami, New York, Knoxville, and Nashville areas, as well as actors who see her remotely via Zoom from LA and FL. She also works with worship leaders and vocal enthusiasts from all around the country and internationally who want to grow in their talent and enjoyment of their gift. Her clients have gone to achieve their desired leading roles, won awards for their performances, received callbacks and joined the ensemble of prestigious shows such as “Mamma Mia”, “Hamilton” (US Tour Cast), “The Voice”, and “American Idol”, and appeared in shows on streaming network platforms.
At the studio, which she founded alongside her husband, she is the head coach, overseeing the curriculum and method of teaching. They coach a variety of styles, offering individual and group lessons, both locally and long-distance via Zoom, in English and Portuguese, reaching students of different ages, levels, backgrounds, and nationalities.
She has been invited to speak at conferences and teach workshops on voice technique and vocal health, nationally and internationally. She also works with studios, assisting recording artists in preparing for their studio sessions and in the role of vocal producer.
Not only is Camilla a passionate teacher, but she also loves to sing, having trained vocally since the age of 6. Her passion for music, matched by her desire to use it to impact lives, led her to worship leading, studying Worship and Technical Arts at Christ for the Nations, and serving as a staff worship leader at one of the most creative churches in North America, Fellowship Church in Grapevine, TX. Now, she is part of the worship team at RIO Revolution Church in Maryville, TN, where she often uses her gifts to express her devotion and gratitude through music.
Because she is a singer and understands the vocal demands associated with needing her instrument to be in great shape on a daily basis, she brings a unique perspective on vocal health and teaches singers to develop and implement a vocal regimen to ensure they can continue to do what they love well and sustainably for as long as they desire.
Before opening her first studio in Florida, Camilla DeFaria completed the New York Vocal Coaching 50-hour Teacher Training with Justin Stoney. This training was pivotal in her new season of teaching and coaching. Justin Stoney is an incredible teacher, coach, and person, and his impact is evident in Camilla's work. Her great passion and strong technique work hand-in-hand to help students intentionally achieve their best sound.
Canan Uzerli is an enthusiastic professional singer and singing teacher located in Hamburg (Germany).
She gained her Diploma in 2008 at the Hamburg School of Music as a professional singer and singing pedagogue for Pop/Jazz.
Following this period of initial education she continued her studies at the Conservatoire for Turkish Music in Berlin specialising in Turkish Singing and also giving lessons there in the field of singing technique herself.
In the context of her further professional development she attended various courses at the ‘Bund Deutscher Gesangspädagogen’ (=/ ‘Federation of German Singing Pedagogues’) with a focus on ‘Improvement Work for Beginners’ and ‘Anti Aging for the Voice®’. In ‘Soulvoice® Workshops’ and working as an assistant in these Canan Uzerli then became familiar with new forms of vocal expressions.
Since 2008 she has been teaching at Music Schools as well as in her own vocal Studio ‘Raum für Gesang’ (=/ ‘Room for Singing’) in Hamburg, while at the same time participating in a number of music projects of different genre like, Jazz, Pop, Bossa Nova and Worldmusic.
With her own project ‘Içten Gelen Ses – The Voice from Within’ she has been giving Concerts in several German Cities and published her Mini-Album. Her new Album will come out in the autumn of this year.
Canan Uzerli has now completed the ‘Voice Teacher Training’ with Justin Stoney (New York) to extend and deepen her knowledge and teaching competences. The intention was also to be updated with the latest scientific and pedagogical standards in her field.
Carrisa Sukboriboon is a vocal teacher, singer/songwriter and actor based in Portland, OR. Carrisa is originally from St. Louis, MO. She has traveled around the US teaching theatre to elementary school children. Carrisa is currently a teaching artist with Kaiser Permanent's Educational Theater Program in collaboration with Oregon Children's Theatre.
Cassie Okenka, originally from Ohio, is a actress and voice teacher currently based in New York City. She has always had music in her life, being involved in the Toledo Opera Youth Chorale and Ohio Music Education Association throughout her childhood. Having played clarinet in the past, her love for music has ascended into adulthood. She became a young actor performing in plays and musicals across Ohio and Michigan.
She has a Bachelor's of Music in Music Theatre from Baldwin Wallace University-Conservatory of Music, furthering her education with the New York Vocal Coaching Voice Teacher Training Certification. She has been in the Broadway productions of Bonnie And Clyde, along with being part of the Original Cast of The School of Rock. Across the United States, she was seen in The Royal Shakespeare's Company The Wizard of Oz and The First National Tour of Wicked.
In Cassie's vocal studio, she loves giving a positive influence to encourage new and professional singers the confidence and the tools needed to succeed. She holds her student to a high standard while still letting them explore their true selves and the music.
Catherine Vega Codd Is a speech and language therapist, based in the north of Chile, currently working on a specialty in Vocology. Catherine started singing naturally at a young age. She considers herself a ballad/R&B singer and plays some musical instruments, mostly guitar, to accompany herself. Catherine has studied voice with private singing teachers for a few years. She’s performed in bars and has participated in a few music projects in different genres such as Hip Hop, Soul, Rock, Pop and R&B. Catherine Vega Codd trained as a voice teacher under Justin Stoney and completed the New York Vocal Coaching 40-hour Teacher Training.
Cauê Ferreira is one of the most requested vocal coaches of the Brazilian music industry.
He prepares the greatest artists of the musical industry, besides attending several renowned actors and the biggest digital influencers of the country.
With clients spread throughout Brazil and around the world, he does an average of 250 monthly coaching sessions (in person and online), in addition to preparations in the studio, in shows, lectures and workshops.
He has unique techniques that he has developed with his daily practice and that has been giving incredible results.
O Cauê Ferreira é um dos preparadores vocais mais requisitados da industria fonográfica brasileira. Ele é o mais popular entre os artistas mais populares. Trabalha com grandes nomes do Mainstream. Além de atender diversos atores renomados e os maiores influenciadores digitais do país.
Com clientes espalhados pelo Brasil e pelo mundo, faz em média 250 atendimentos mensais (presencias e online), além de preparações em estìdio, em shows, palestras e workshops.
Ele tem técnicas exclusivas que vem desenvolvendo com sua pratica diária e que vem dando resultados incríveis.
I am singer teacher with over 10 years private teaching experience, helping students from complete beginners develop into competent vocalists.
I trained with New York Vocal Coaching, Laine Theatre Arts gaining Teaching Associates in ISTDA, Diploma in Musical Theatre. I have also worked extensively as a professional musician, working on board Cruise ships P&O and NCL. I draw on both my academic learning, as well as my time performing, to provide singing lessons that really enhance a students singing ability through sharing technical exercises that will train the voice comprehensively.
I pride myself on being a friendly, patient teacher who is able to help students of all ages to develop their vocal strength, tone and singing confidence.
Cheryl Tan is a voice teacher, vocalist and professional actor currently working in Singapore and Malaysia.
At the time of writing she is playing the lead in landmark Singaporean musical Beauty World, and will be directing her first musical in Kuala Lumpur at the end of 2015. Next year she will direct a mini-musical anthology and co-write a new original musical as well as perform and teach.
Cheryl began dabbling in voice teaching at 14, forming a choir from her friends in school. She taught choirs through her university life and coached college productions of Sweeney Todd, Sunday In The Park With George and Into The Woods as well as her senior recital, The Old Maid And The Thief.
At home she has taught privately and in special workshops for private and international schools. In the two months since completing NYVC’s teacher-training she has acquired 10 new students and begun her teaching studio, Voice KL. Former and current students have starred in musicals locally.
Chris is a professional singer and singing teacher based near London. He graduated from the GSA Conservatoire with a BA (Hons) Degree in Performance. His professional credits include numerous shows in London’s West End, and international tours.
Chris has a great knowledge of many vocal techniques/pedagogies including Speech Level Singing, CVT, and the work of Jo Estill. His passion for singing has lead him to working with the best singing teachers from all over the world.
He completed the Level 2 Estill Course at the Royal Academy of Music, London.
He then went to Italy to attend various masterclasses and work with Brett Manning. Once familiar with Brett’s work, Chris taught a vocal masterclass in Norway with Jason Catron, who is a Master Associate of Brett Manning.
Chris had a breakthrough when he began working with Justin Stoney. Chris found himself singing, and teaching better than ever. He was passionate about furthering his own knowledge, so he then completed the Voice Teacher Training Course.
Chris had the pleasure of writing some of the Daily Vocal Tips for New York Vocal Coaching. He is also delighted to be teaching alongside New York Vocal Coaching’s Julie Reumert, for a week vocal masterclass in Copenhagen.
Chris’s currently teaches singing to students of all levels from beginners to West End Professionals.
Clara Gálvez is a Speech Therapist graduated from the Universidad Complutense de Madrid. She is also Master in Pathology of the voice and Professional voice from the Universidad de Alcala de Henares (ICH), Madrid.
She works in clinic with Roxana Coll Barragán recognized nationally and internationally for her expertise and her excellent work in the rehabilitation of voice pathologies. They work with all kind of voice disorders with adults and kids, professional voices, speech and feminization of transgender people.
In order to further deepen her expertise as a voice specialist, she's getting individual singing classes by Fernando García Escudero. Fernando has taught singing with a physiological technique (proprioceptive) in order to deepen her knowledge of the voice through singing.
She followed the 10 hours course with Justin with the objective to enlarge her professional knowledge on voice techniques.
Conrad believes that everyone can sing and his motto is "Give a note a home". Once an individual is presented with the skills to produce a manageable sound, it then has a home. This is why he welcomes teaching anyone from beginners to professionals and recording artists; which covers all styles of singing such as Pop, Rock, Gospel, and Classical.
Conrad Gayle, born in South London, is a vocal coach with over 24 years of experience. Based in the West Midlands, Conrad Gayle works as a vocal coach and choir director, as well as training individuals and groups all over the country. Mr Gayle passed with distinction, his Certificate in Singing at New College Nottingham in 1996.
His passion for teaching the art of singing developed, which led him to continue his studies in education, completing a teacher training course the following year and immediately securing part-time employment at the same college. Conrad gained extensive professional experience in tutoring and in lecturing singing classes with an attendance size of 30 individuals with a retention rate of students which had never been seconded within the music department. All this took place while completing his professional studies with the Institute of Legal Executives at Nottingham Trent University
Conrad has an extensive background in a vast array of vocal technique. His passion and understanding has allowed him to sing with and train a number of groups, choirs and individuals from around the country and has his sights set on sharing this workable technique across the Atlantic.
This sort after, personable, organised and focussed individual currently coaches two Choirs, sings professionally with his own group, tutors for Aston Performing Arts Academy, holds bespoke master classes all over the country and intensive vocal classes with planned sessions and holds private sessions for a number of individuals per week. As well as nurturing his 3 Children along with his wife Sarah Gayle, who is also a singer.
Unlike other vocal coaches and voice technicians in England, Conrad has written a choir vocal trainer course for inexperienced contemporary choir leaders and assistants on how to develop voices in their membership. This is a 12 week curriculum which he has delivered to Worksop Community Choir leaders, which will soon be rolled out to other church and community choirs across England.
On a visit to New York USA, Conrad came into contact with the worldwide renown vocal coach, Justin Stoney, which led him to enroll on the New York Vocal Coaching Teacher Training and Certification Program. This catapulted him into teaching and singing to a much higher level and his vocal pedagogy skills.
Without a doubt, everyone that has come in contact with Conrad’s tutoring has experienced great positive change with their vocals and increased confidence in a short space of time.
Damaris Lopez-Canales is a New York native. She has been singing and performing since the age of 6 starting in her local Boys and Girls Club in the Bronx and then moved to Miami to continue her studies.
She has trained at HB Studios in NYC for Musical Theater and graduated from Fiorello LaGuardia High School of the Performing Arts in New York with a vocal performance degree. Damaris also attended the University of Miami School of Music, Musical Theater program. She has been coaching voice since 2001 and is the artistic director for Miami Children's Theater in South Florida since 2004. She has directed over 50 musicals to date. Some of these credits include In the Heights, Little Shop of Horrors,Les Miserables,Aida,Anything Goes, Jekyll and Hyde,Shrek and many more. Her extensive training was based on 10 years of classical,musical theater, pop, R&B and other techniques of singing. As well as acting for the stage and dance. Damaris has performed in several regional theaters and venues throughout South Florida,Arizona,Texas and New York. Some of her performance credits include, Hunchback of Notre Dame,Little Shop Of Horrors, Funny Girl,Evita, Sound of Music and many more. She is the voice instructor and guest teacher at both South Miami Elementary and South Miami Middle School Magnet programs in South Florida for over 10 years. She continues to sing at her local church as a vocalist and choir director. She has completed her 50 hour Voice Teacher Training at New York Vocal Coaching with Justin Stoney and is thrilled to be certified for doing what she loves. Thank you!
Daniela Guirola is passionate about the power of music. She is a NYC based singer-songwriter, originally from Guatemala. She loves to connect with her audience with refreshing music with positive messages. Fusing several styles, from pop, reggae, latin, jazz and folk music.
In Guatemala, Daniela has been featured in several TV talk shows and her music is currently sounding in several national radios.
Since she was small, Daniela was passionate about music and singing, studying with various renowned music teachers in Guatemala, and doing her musical training in vocal performance at Nyack College in NYC. She has sing in various venues, including Lincoln Center with the Nyack Jazz Ensemble.
Daniela firmly believes in the power music has to heal and cheer people´s spirit, body and soul. She is currently working on her musical project “Manguito”, in which she wants to deliver innovative, refreshing, and good lyrics to her audience; Music that will enrich people’s lives and journeys.
Music is the universal language of the soul, and Daniela´s mission is to unite people with every/any background or story into loving each other through music. To deepen her knowledge as a teacher and as a singer, Daniela studied with Justin Stoney of New York Vocal Coaching, were she did the 40 hour teacher training & certification. A course that has created a new momentum in her music career as a teacher and as a singer; and has given her the confidence, inspiration and enthusiasm on building a high level music academy in her hometown, Guatemala.
THE SINGER DANIELA PUSCEDDU…
Whether backstage or on stage when you meet her for the first time you will experience an authentic, down to earth and adorable singer, that has completely dedicated life to her one and only true obsession: MUSIC! She is a native born italian, currently based in Germany. Blessed with a huge natural talent and a big portion of ambition, she refined her vocal gift and developed as an exceptional professional singer. For more than 17 years Daniela has captivated audiences Europe wide in her own special way. The rise in her career brought her to many top stages, the biggest concert halls and arenas and the most renowned cultural events around the world, where she had the privilage to share the stage with some of the music industry´s top artists.
FROM A SINGER'S DREAM TO A SINGING CAREER…
Daniela grew up in a very musical family where even as a small child she displayed a major interest in music. Her grandfather played the guitar and her uncle played multiple instruments and was a voice teacher, professional pianist and singer all over Europe. Influenced by so much musicality she began singing at the tender age of 5 years old in the homeland of the “Belcanto” (Italy) under her uncle´s tutelage. From this moment on, all she wanted is to become a singer. Her multifacetided voice makes it possible for her to sing many different styles, but Soul, R&B, Jazz and Gospel make her heart beat faster.
ENTERS SUCCESSFULLY IN THE MUSIC INDUSTRY…
As the winner of a talent contest, sponsered by one of the biggest radio stations in Germany, she performed at an open air event with an audience of 20.000 people, where she shared the stage with many of the top music artists from Europe. Daniela was recognized more and more in the public eye and in a short period of time a lot of professionals in the music industry wanted to work with her.
LIFE IN THE SPOT LIGHT…
And so the talented singer started touring in England, France, Germany, Italy, Liechtenstein, Austria, Switzerland, Spain and in the USA. Along with her numourous performances as a solo singer singing; Soul, R&B, Jazz, Pop and Gospel she also toured as a background singer for several major artists. As a background singer she had the honor to appear on many premier live television shows throughout Germany and Italy. She was also a part of the “Soul of MTV-Tour” and Support-Act for the “The Tiger” Tom Jones, the US-Band City High and the soul artist Bilal. Even though she had a lot of engagements as a background singer she never forgot about her own music career. She celebrated her next success as an Opening-Act at a huge concert where many of the european top ten billboard chart leaders performed.
AS A STUDIO SINGER…
Thanks to Daniela´s diverse vocal abilities she also made her impact as a studio singer. She masterfully used her talent to record radio-jingles, corporate songs, diverse cd projects and song-productions. For example, her voice was heard during the closing credits of the popular MTV-Show “Date My Mom”.
HIGHLIGHTS WITH BANDS AND ORCHESTRAS…
As a lead vocalist of different band formations she performed at the world famous Vienna Opera Ball and a vast number of other top-quality gala and ball events Europe wide and shared the stage with showacts such as; Gloria Gaynor, Kim Wilde, Boney M., Andrea Bocelli, The Supremes, Earth, Wind & Fire Experience, The Weather Girls, Bryan Adams and many more.
Daniela achieved everything that she ever dreamed of as a little girl. She has become a professional singer and that still today, is like heaven on earth for her.
From the beginning of her professional singing career Daniela was always fascinated with the voice as an instrument and never left a chance behind to grow as a singer and consistantly polish up her own techniques in breathing, vocals and physical training. Many years of experience as a professional singer, joyfully dealing with lots of individual human beings and many requests have inspired Daniela to teach her craft to other devoted singers and share her passion for music and fascination of the voice with others around the world.
THE NEXT STAGE IN DANIELA´S LIFE…
Along with working on new recordings and show concepts for her live performances, spreading the gift of music has become one of her most important missions. So in 2017, she graduated and became a certified voice teacher from the private educational company New York Vocal Coaching, trained by the Founder and President Justin Stoney himself. That´s another milestone added in her resume and she is overjoyed to hold the NYVC Voice Teacher Training dipolma in her hands and is thankful for the oppurtunity given to her.
She is currently in the process of opening the doors to her own voice studio for singers, ranging from beginner to professional levels.
Danielle is a singer and voice teacher currently residing in Fayetteville, North Carolina. She first started singing and playing piano at the age of 6.
In her high school years, Danielle accompanied her choir in high school concerts and played piano for her church. She sang in a traveling choir as both a member and soloist, which gave her the opportunity to sing in many cities throughout the world. She has performed in notable venues throughout Europe (Italy, Germany, Austria, Czech Republic), and the East Coast (New Jersey, New York). Danielle has received multiple awards and honors in recognition of her talents. Among other achievements, she was one of only 11 students in New Jersey chosen in the All State Rising Stars Competition, and earned a level 5 distinction from the Royal College Board of Music.
After High School, Danielle went on with a scholarship grant to the Hartt School of Music where she received a B.M. in Vocal Performance and a minor in Italian studies. Throughout college, Danielle studied from renowned voice teachers including seasoned performers of the Metropolitan opera and New York City Opera.
At the Hartt School of Music, Danielle performed in an array of lead and supporting operatic roles which included works by Mozart, Ravel, Gilbert & Sullivan, and Engelbert Humperdink. She also performed with The Boston Longwood opera and had the opportunity to study voice in Northern Italy through the Manhatten School of Music. While in Italy, Danielle undertook an intensive course of study in Italian operatic performance where she refined her musical style, presentation, diction, and her Italian conversation skills.
After College Danielle decided to pursue her love of teaching and completed New York Vocal Coaching's 50-hour Voice Teacher Training Program under the guidance of Justin Stoney.
With the help of New York Vocal Coaching Danielle has learned and is committed to helping her students consolidate ideas about vocal technique, and break down vocal barriers in a supportive and engaging environment. Danielle is also currently a voice student of Justin.
Daniel Orama is the Founder/Vocal Instructor of THE SCHOOL OF SINGING located in Nassau County Long Island, and New York City. He specializes in training voices for professional performance in Musical Theatre, Commercial Contemporary Music, Classical, Jazz, Audition Preparation, etc. Daniel has brought his students to the stage on Broadway, Off Broadway, and Regional Theatres. His students are accepted to prestigious music colleges with healthy scholarships. Daniel holds a B.A. with Empire State College and has studied at The New England Conservatory. Daniel has studied with numerous voice professionals throughout the United States, his most recent training is with Justin Stoney at New York Vocal Coaching's voice teacher training program.
Daniel is a highly sought after industry professional in voice instruction, especially in the art of breathing. He is an accomplished vocalist, performer, composer, People of Godspell Producer, produced and directed Esther the Musical. Currently, Daniel is producing his musical rendition of “A Christmas Carol” and writing another new musical debut release 2016. He is the founder of The School of Singing and Orama Theatrical Enterprises. Daniel’s first musical based upon a Charles Dickens’ “A Christmas Carol”, will have it's NYC debut December 4, 2015 at The Davenport Theatre. For more information on Daniel’s expertise visit www.theschoolofsinging.com.
Darren Williams’ first stage appearances were at the tender age of seven, winning several medals for singing at The Sydney Opera House. To date, his many accolades include AUSTRALIAN VARIETY ENTERTAINER OF THE YEAR and BEST MALE VOCAL PERFORMER from the MO AWARDS, as well as BEST MALE VOCALIST from the ACE (Australian Club Entertainment) AWARDS.
Darren’s extensive performing career and extraordinary five-octave vocal range have enabled him tackle various musical genres, from pop through to opera. He travels the globe performing his “pOperatic” show for an array of corporate clients and regularly appears as a headline act for the world’s most luxurious cruise lines. Establishing himself as one of the most loved performers on the US Concert and Cabaret scene, Darren has received rave reviews from publications such as the NEW YORK POST and has performed his own shows in venues as diverse as the IRIDIUM Jazz Club and Metropolitan Room in New York City, to an array of Performing Arts Centers and Country Clubs throughout The US and Australia.
Although raised on Rock n’ Roll in a family of professional singers, Darren is equally at home singing the classics. He played the role of leading man in the Australian Production of Rodger’s and Hammerstein’s Musical, A GRAND NIGHT FOR SINGING and also appeared in Gordon Frost’s International Production of SOUTH PACIFIC.
With his ability to sing in several different languages, Darren was chosen to sing in German as a featured artist at The Cologne Philharmonics Concert Hall, backed by the 100 piece Beijing Symphony Orchestra and an 80 piece choir.
Having completed his studies with Justin Stoney at New York Vocal Coaching, Darren is also a certified voice teacher and is passionate about sharing his knowledge of vocal technique and performance skills with newcomers and pros alike.
Darren is a dual citizen of Australia and The United States Of America, and is a member also a member of Actor’s Equity in both countries.
David McCall is a Voice Teacher Associate at New York Vocal Coaching. David has become one of the leading instructors of Contemporary Voice in New York City, with clients ranging from Broadway singers (Billy Elliot, Matilda), Classical and sacred music singers, to cantors in New York City Synagogues, to Professional Rock and Pop artists, some of which have toured and been signed to record contracts, appeared on shows like The Voice and American Idol, and performed at venues such as SXSW. Additionally, David has taught as a Master Teacher of Contemporary Voice for the NYSTA Comparative Vocal Pedagogy series.
David holds a BA in Music: Vocal Performance from Murray State University, where he studied classical vocal technique with veterans of the Operatic and Broadway stage. He also completed the NYVC Voice Teacher Training & Certification program in New York City.
David is a CoDirector of New York Acting Coaching which seeks to help actors all around the world to find individual, creative solutions in an ever changing business. David is a member of Actors Equity, having performed in New York (LaMama; American Globe Theatre; Fringe) and regionally (Barter Theater, Jackson Theatre Guild). His directing credits include contemporary theatre for young audiences (Miss Nelson is Missing, Barter Theatre; Billy, Goat, and Gruff: The Musical, Savannah Stage Co) as well as classic works (A Midsummer Night’s Dream, The Scarlet Letter, Julius Caesar, Savannah Stage Co.). He has collaborated as a music director and composer on new musical theatre works that have toured across the US (A Year with Frog and Toad; All I Want for Christmas; I Can Be Anything: The Musical). As a writer and producer, he’s worked with many leading Broadway stars on popular new works that have been featured in NYC and as a part of popular web series and viral videos. David is also a founding member of The Nerve Project Theatre Company, which, as its name suggests, values ‘nerve’ and imagination in storytelling.
David’s students at New York Vocal Coaching are singers of all levels (from beginner to professional) and all styles (from classical to pop/rock/R&B). He firmly believes singing is the right and joy of anyone who chooses to do it and he whole-heartedly commits to helping each student free, discover, and cherish his or her individual voice.
For even more insight on David’s teaching style and philosophy, you can read some of his articles on singing for New York Vocal Coaching’s Vocal Articles.
Delaney is a speech-language pathologist based in Buffalo, NY, with a special interest in voice. She took the 40-hour training course to enhance her understanding of vocal pedagogy, and to apply this knowledge while working with singers and other voice professionals.
She completed her bachelor and master of science degrees at SUNY Fredonia, where she initially majored in music as an oboist. She is a singer-songwriter, and has a few studio writing/publishing credits to her name. She co-wrote and performed all vocals on "If You Would" (Spinnin' Records), which reached #1 on the Beatport charts in 2011. It was later released by world renowned DJ Paul Oakenfold on his compilation disc “We Are Planet Perfecto, Vol. 2”.
In addition to the NYVC Teacher Training Course, Delaney has pursued voice certifications and continuing education over the last few years. She has completed training in Myofascial Release for voice and swallowing disorders, and is a provider of SPEAK OUT!, a program designed to preserve the voices of individuals with Parkinson's disease.
Delaney owes a debt of gratitude to Justin and his teachings. He was able to masterfully combine voice science and vocal artistry, which has helped tremendously in her own vocal journey and voice therapy practice.
DiversifiedHearing.com
Originally from South Florida, “rich voiced” mezzo-soprano Desiree Maira has enjoyed an active singing and teaching career along the east coast since 2009. Recent performance highlights include covering Francesca in The Bridges of Madison County (Media Theatre) and being a featured soloist in the Duke Ellington Sacred Concert (DuPont Clifford Jazz Festival) in Wilmington, Delaware.
Desiree serves as musical theatre faculty at The Boston Conservatory at Berklee, Rowan University and works as a mentor with ArtSmart: an organization that provides free voice lessons to underserved communities. She also has a private studio in Philadelphia, where she currently lives. She holds a master’s degree is in opera performance from The Boston Conservatory and a bachelor’s in vocal performance from Stetson University.
Desiree is thrilled to have completed the 40-hour training with Justin at New York Vocal Coaching and plans to return for the 10-hour intensive next year. The NYVC teacher training was the most rewarding educational experience she has participated in to date and will forever positively inform her teaching for the entirety of her music career.
Education: 2010-2015 Russian Academy of Music named after Gnesins Department: musical art in contemporary singing. Theme of the final work: “Articulatory exercises in the professional preparation of variety performers: a comparison of American and Russian traditions.” Specialty: pop-jazz singer.
September 1, 2015 enlisted in the postgraduate course of the Russian Academy of Music named after Gnesins, for 1 year full-time education.
Specialty 13. 00. 02 - Theory and methodology of teaching.
The supervisor of studies is professor, candidate of pedagogical sciences Olga Leonidovna Berak.
The theme of the dissertation research: “Formation of articulatory technique of the pop singer”. 7/04/2016. Participation in the V international conference “Philosophy and Art”. Theme of the report: “Anthroposophy of M. Chekhov and her place in Russian culture”. 04/04/2016. Participation in the IX Russian Scientific Conference “Studies of Young Musicologists.” The theme of the report “Relax Kids - program is the peaceful future of our children”. 12/15/2016. Participation in the scientific and practical conference “The Borders of Culture: Actual Problems of History and Modernity”. Topic: “Innovations in vocal pedagogy”. 12/04/2017. Participation in the 10th Russian Scientific Conference “Studies of Young Musicologists”. The theme of the report is “The Kristine Linklater School turned the world over”. Member of the club for improving communication skills “The Art of Speech.” A.E. Epstein.
Personal achievements during his studies: Concert activity during the whole period of study, touring abroad in various bands (Belgium, Great Britain, Ireland, Spain, Italy, USA, France, Switzerland).
Increase of professional skills (summer course) Tech music school (London, 2011) Assistant in Jazz Festival, Montreux, 2012. Performing on the radio Scorpio, Belgium 2015.
Teaching Activities: Started from 2015. Teacher of the author's course in RAM named after Gnesins Vocal Breathing and Vocal Techniques" at the pop-jazz department.
07/23/2016. resident of the festival of electronic music Alfa Future People.
November 25-27, 2016. Training in the Estill Voice Training method. Certificate I level of EVT. Teacher Alejandro Saorin Martinez.
12/25/2016. Diploma of professional education at the course ”Leading on radio and TV.“ Head of the course Konstantin Mikhailov. Chairman of the Commission Xenia Strizh.
February 2017 - training on the "Voice", the author's course of Vadim Kurilov. March-April 2017 - training at the Center for Improvisation and Art Music Inside, in the direction of “Performance”.
March-May 2017 - training program Logic Pro X - professional creation of music, processing and mixing of sound. May 2017 - invited expert in the musical TV show of the first channel “Winner”.
10-11.06.2017. Training in Estill Voice Training. Certificate of the II level EVT (Estill Voice Training). July-August 2017 took a 10 hours course in Voice Teacher Training in New York Vocal Coaching Inc. Instructor Justin Stoney.
August 2017 was trained at the Kistine Linklater School in New York City. Tamala Bakkensen. Spoken languages - English (TOEFL certificate 2013), Italian and French (A2 and B2 levels).
Dorothy Savage is a vocalist and Equity actress currently residing in her home town of Fairhope, Al. After completing her Bachelors in Vocal Performance, Dorothy went on to continue work on her craft in New York in acting and voice with private study.
Dorothy has performed in regional theaters along the East Coast as well as in the South with some of her favorite rolls being Nellie in South Pacific, Shelby in Steel Magnolias and Mayzie in Seussical.
Dorothy has had the opportunity to work in not only the theatre medium but also has done work in independent film and TV.
Dorothy has recorded and released two contemporary Christian albums and has had the opportunity to tour and perform for audiences throughout the south, in Ohio, and also Baltimore. Dorothy's song ‘Finder of the Lost’ from her album Glorious Mess, received national radio play and recognition with the nations largest most recognized inspirational stations, K-Love.
After taking time to begin her most important accomplishment yet by having her two children Honor Blue and Ever Brave, Dorothy is finding perhaps her greatest professional satisfaction yet in bringing the techniques and approaches she has learned through years of study and most notably with Justin Stoney and the staff at New York Vocal Coaching to eager students locally.
Dorothy has found a new passion for bringing her experiences and techniques from her New York study to the local person who has the same hunger to grow and improve as a performer be it for personal reasons or professional. I have been so blessed to learn and study my craft and perform in wonderful places around the country. To be able to bring those experiences and techniques back to my home town is pure joy.
Douglas Charles, a native of Connecticut, has been served as worship leader for over 10 years. Douglas' has been inspired first by gospel music through his father. From singing in the church choir, gospel quartet group and praise team into being founder and president of a new organization called “Singers Connected” an organization for singers to join and become professionally trained background vocalists to service musical is artists, events and more. Douglas will continue to walk in the footsteps of gospel music creating a legacy for his family and those who believe in their dreams.
Emile Rocha is a Brazilian speech therapist and vocal coach for renowned Brazilian singers, including some vocal athletes from the carnival in Bahia. She holds a B.S. (2005) in Speech-Language Pathology from the State University of Bahia (Uneb) and a Master's (2015) in Health, Environment and Work from the Federal University of Bahia in Salvador, Brazil. She is a Voice Specialist and board certified by the Brazilian Federal Council of Speech Therapy (2006) and holds a Certificate (2008) in Vocology from the University of Iowa and The National Center for Voice and Speech in Denver, Colorado. As a clinical speech pathologist, Emile teaches numerous university courses at the Metropolitan Union for Education and Culture (Unime) in Lauro de Freitas, Bahia, and is a clinical professor at the State University of Bahia (Uneb). Out of the academia, she acts as a consultant and provides professional voice counseling services to several patients.
Emily has been coaching performers throughout the country for over 12 years. In addition to her years of voice training, she has also completed the 40-hour Voice Teacher Training and Advanced Teacher Training with New York Vocal Coaching. This course presented Emily with the opportunity to venture even farther down the path to becoming not just a better teacher, but a better vocal technician, through the tutelage of world-renowned vocal teacher Justin Stoney. She continues to travel the world, attending classes, webinars, and conferences that put her at the cutting edge of vocal science and health.
As a performer, Miss Emily spent the first 6 years of her career working in regional musical theatre in New York as well as throughout Colorado. For the last 10 years, she has been the lead singer of three bands that have performed across the country. Some of her favorite performances include opening for Victor Wooten, Tinsley Ellis, and a special event at Mile High Stadium.
Above all, Miss Emily wants her students not just to become better vocalists, but to be confident that they truly have knowledge and control of their own voices.
“The thing I love most about teaching voice is the chance to watch people grow and be proud of what they’ve accomplished.”
Emi Pellegrino is a professional vocalist and newly certified voice teacher.
Born and raised in New York, Emi has always been around the music scene. Emi has been training professionally as a vocalist since a very young age and just knew that she needed to turn her talent into something much bigger; a career.
Emi was always the music leader for all of the children in her church and one day she realized, “Hey! I’m pretty good at this teaching thing!” From then on, she set out to learn all there is to know about the voice and singing and how it all worked. She was very interested in studying all that she could and that’s how she came across NYVC.
Emi joined the NYVC Teacher Training course in the summer of 2017 and fell in love with the art and science that went into being the best kind of voice teacher.
Straight out of graduation, Emi has been hired as the lead vocal instructor at Guitar Center in Selden, NY and she couldn’t be happier with where her studies and perseverance has taken her. She is still singing and performing as a solo artist and becoming a voice teacher has helped her to even improve her own singing. Emi says that joining the NYVC Teacher Training course was the best decision she has ever made.
Gema Vau is the founder of ESCUELA VAU located in Madrid, Spain, and also give lessons online worldwide. She has been the leading singer of the progressive metal band “Biosfear” and she also has participated in various Rock, Soul, Jazz and Blues projects, such as Jeff Scott Soto's guitarist's latest LP, Mago de Oz, or the UK band “The Answer.” She collaborates with several studios as a dubbing actress, and also as voice talent for commercials and jingles. She has run private events at Hard Rock Cafe. As a writer, she is an active member of several Spanish blogs devoted to musicians as an expert in Vocal Technique, Coaching, and Personal Growth.
She has been trained as actress and clown, and has been a member of various professional gospel choirs in Madrid, Spain.
Her wide curiosity and thirst of knowledge led her to Justin Stoney. She was visiting NYC during the spring holiday season when they first met. Back in Madrid, she felt she had found THE teacher, and she decided to enroll in NYVC's Voice Teacher Training and Certification course.
She loves teaching more than anything, and nowadays, she is gaining a consistent reputation as a specialist in voice for demanding styles such as Rock, Metal, Gospel and their special needs. She studied English Philology at the University so she can teach in Spanish and English.
Gil Avidor is an NYC based Israeli singer.
Gil started singing professionally at the age of 10 when she joined an acclaimed Israeli youth ensemble. During this time Gil began performing in musical productions that involved singing, acting and dancing.
Gil joined the Israeli Defense Forces and served as the Lead Singer for the prestigious Education Corps Band, with whom she toured internationally, performing mainly across Israel and the U.S.
Aside from her IDF experience, Gil went to Rimon School of Music, Israel’s largest independent professional school for the advanced study of jazz, R&B, rock, and more. Gil also has a dual bachelor's degree in psychology and communications from Tel Aviv University.
In 2015 Gil co-founded "Budgetless Covers", an online musical project that aims to provide a free stage for professional singers. The project records cover versions to songs that range from contemporary upbeat pop hits to old Israeli classics. “Budgetless Covers” gained nationwide exposure through social media, radio, and television, and continues to operate today.
Over the years Gil performed at various events including the annual beer festival in Haifa, the "Budapest's Boats" musical which won the Best Musical title at the Bat Yam Musicals Festival, “Cafe Wha” in New York, and more.
Gil has completed the 40-hour teacher training & certification course under the guidance of Justin Stoney and is now teaching voice lessons in NYC.
Gregory Lee Harrell has been an associate professor of voice at Baldwin Wallace University since 2014. Before that time, he taught voice at Western Michigan University specializing in music theater performance for seven years. He also served as vocal director and music arranger for the annual WMU music theatre senior showcase in New York City and previously taught private voice, voice for actors and singing for non–majors and assisted with the opera workshop at the University of Idaho Lionel Hampton School of Music. Harrell has completed additional study at Manhattan School of Music’s professional musical theater program, New York University Steinhardt and Langone’s Voice Center, New York's HB Studio, T. Schreiber Studio and the New York School for Film and Television.
Harrell is an accomplished performer, teacher, and music/vocal director and his private New York City voice studio includes numerous Broadway artists. He has studied with such distinguished artists as Mark Oswald, Sherrill Milnes, Dawn Upshaw, Joan Dornemann, Arlene Shrut, Bob Cowart, Lucy Arner, Bill Schuman, Adele Addison, Paul Gemignani, Paul Ford, Seth Rudetsky, Betty Buckley, Austin Pendleton, Donna McKechnie and Bruce Norris.
As an operatic baritone, Harrell has sung at the New York City Opera, Carnegie Hall, Lincoln Center′s Avery Fisher Hall, the Kennedy Center, Opera Orchestra of New York, Washington National Opera, Eugene Opera, Dicapo Opera, Brooklyn Philharmonia Orchestra, National Lyric Opera, Opera Northeast, Metro Lyric Opera and Opera at Florham. Among his many opera credits are New York City Opera′s productions of "Margaret Garner" (NY Premiere), "La Fanciulla del West," "Antony and Cleopatra," "I Pagliacci," "Cavalleria Rusticana," "King Arthur," "Ariane et Barbe-Bleue" and Carmina Burana. Select roles performed include Marcello and Schaunard ("La Boheme"), Sharpless ("Madam Butterfly"), Gianni Schicchi and Betto ("Gianni Schicchi"), Silvio ("I Paligiacci"), Don Basilio ("Il Barbiere di Siviglia"), Dr. Falke and Frank ("Die Fledermaus"), El Dancairo ("Carmen"), Father ("Hansel and Gretel"), Dimitri Petrovsky ("Chekhov Trilogy" – NY Premiere), Mr. Ault ("Pamelia" – World Premiere) and Mr. Browne ("The Dead" – World Premiere). He has performed as a soloist in Mozart's "Requiem", Brahms′ "Ein Deutsches Requiem," Vaughan Williams’ "Five Mystical Songs," Haydn's "Mass In Time Of War," Handel's "Messiah," and Saint-Saëns′ "Christmas Oratorio," and he has given concerts across the U.S. and in Bologna, Florence and Rimini in Italy.
Harrell′s work also includes film, TV and radio commercials, industrials, tours and numerous musicals and plays. As a musical theater artist, he has performed Off–Broadway at the Vineyard Theatre, York Theatre, Playwright Horizons and Beckett Theatre as well as the New York Musical Theatre Festival, Joe′s Pub, the Producer′s Club, Don′t Tell Mama, The Duplex Cabaret Theater, 88′s, Grove Street, Courtyard Playhouse, Chashama, Blue Heron and Storm Theatre. Regionally, Harrell has performed at Seattle′s 5th Avenue Theatre, Helen Hayes Performing Arts Coliseum, Stamford Center for the Arts, Downtown Cabaret Theatre, Seattle′s Civic Light Opera and the Palace Theater. Favorite theater roles include the Phantom (Yeston′s "Phantom"), Fred/Petruchio ("Kiss Me Kate"), Billy Bigelow ("Carousel"), Lancelot ("Camelot"), Jesus and Caiaphas ("Jesus Christ Superstar"), Pirate King and Sergeant ("Pirates of Penzance"), Lord Savage ("Jekyll & Hyde"), Prince Nicki ("My One and Only"), Audrey II Voice ("Little Shop of Horrors"), Bill Sykes ("Oliver"), Mr. Clive Paget/John Jasper ("The Mystery of Edwin Drood"), Rooster and Daddy Warbucks ("Annie"), Beauregard ("Mame"), Squash ("Victor/Victoria"), Tom/Phyllis/Leslie ("Sylvia"), Histangua ("A Flea in Her Ear") and George ("Hedda Gabbler"). Harrell has originated the roles of Marquis d'Evremonde ("Two Cities" – NY Premiere), Nanaka Noru ("Hameko & Lulu" – NY Premiere), Caleb Proctor ("Winter In Paradise" – NY Premiere), Spartico and Bruno Cecconi ("Bellissima" – NY Premiere), King Louis XIV ("Liberty Smith" – NY Premiere), D.B. Norton ("Meet John Doe: The Musical") and Henry Ford and Frank Esty ("Dream Mountain" – NY Premiere).
Harrell has performed on stage with such remarkable artists as Placido Domingo, Marcello Giordani, Catherine Malfitano, Angela Gheorghiu, Jonas Kaufmann, Patricia Racette, Lauren Flanigan, Teddy Tahu Rhodes, Brandon Jovanovich and Michael Todd Simpson. He has worked with such notable conductors and stage directors as Larry Fuller, Joe Calarco, Steven Crawford, George Manahan, Mark Morris, Jiri Belohlavek, Jane Glover, Anton Coppola, Eve Queler, Leon Botstein, Giovanni Reggioli, Lillian Groag, Italo Marchini, Austin Pendleton, Imre Pallo, Steven Lawless, Charles Prince, David Alden, Andrew Gerle and Tazewell Thompson.
Harrell′s classical and music theater students have performed on Broadway ("American Idiot," "An American In Paris," "Beauty And The Beast," "Bright Star: A New American Musical," "A Class Act," "Curtains," "Godspell," "Jackie," "Little Children Dream Of God," "A Little Night Music," "Mamma Mia," "Matilda," "The Mystery Of Edwin Drood," "Newsies," "On The Town," "Rock Of Ages," "Saturday Night Fever," "Smokey Joe’s Cafe," "West Side Story," "Woman In White" and "Wonderful Town"), Off-Broadway, in national and international tours ("50 Shades! The Musical," "Beauty And The Beast," "A Chorus Line," "Cats," "Dr. Doolittle," "Evil Dead: The Musical," "Fiddler On The Roof," "Grease," "Guys And Dolls," "Gypsy," "In The Heights," "Kiss Me Kate," "Legally Blonde: The Musical," "Les Miserables," "Mamma Mia," "Phantom Of The Opera," "Ragtime," "Seussical," "Shrek," "Sister Act," "The Wedding Singer," "West Side Story," "Wicked," "White Christmas" and "Zoro"), at London′s West End, on network and cable TV, in Las Vegas, on cruise lines and in regional theatres and opera houses across the United States, and they have won major national and international singing competitions.
Harrell is a member of Actors′ Equity Association (AEA), American Guild of Musical Artists (AGMA), National Association of Teachers of Singing (NATS) and Music Teachers National Association (MTNA).
Jacob Thomas Carr is a New York based voice teacher, music director, and contemporary keyboardist. He has a private voice studio in the city, and was formerly adjunct voice faculty in Sam Houston State University’s Department of Musical Theater, as well as a vocal coach in the Houston metroplex. He has had students accepted to major university musical theater programs, as well as others who have worked professionally on various cruise lines and and national tours. Work as a music director have included collaborating with Tony Award Winner Ben Vereen, as well as various other Broadway performers including Josh Young, Jarrod Spector, and Kelli Barrett. On keyboards he specializes in Contemporary Commercial Music (CCM), and also works regularly as an audition accompanist for musical theater. He has collaborated with singers and actors in various capacities for over a decade, and has been fascinated with the technical and artistic abilities of the human voice for just as long.
Education includes a B.M. in Music Composition, summa cum laude, from Sam Houston State University School of Music, including dual study in piano and voice, and extensive work as a choral accompanist. He is certified in Levels I, II, and III of Somatic Voicework The Lovetri Method, and is a graduate of the New York Vocal Coaching 40-hour Teacher Training. He is also a graduate of The Esper Studio Two Year Professional Acting Program, where he was in class under the direction of Bill Esper, in addition to studies in Linklater Voicework, Alexander Technique, Loyd Williamson Technique, Mask, Mime, and Stage Combat. Private voice instruction has included work with John Barth, David McCall, and Justin Stoney.
He is committed to providing the best artistic and personal experience for the various performers he coaches, and believes strongly in the power of habit formation and kinesthetic learning. Earlier in life he had a stint as a horse trainer, and practices John Lyons Natural Horsemanship Method. He is thankful to his horses for teaching him that words mean much less than behavior and body language (though he’s still trying to learn that one). He actively follows a primal food and movement based lifestyle, and loves improvising in the kitchen as well as on the dance floor (specifically partner based street dances like Blues and Fusion). He is immensely grateful to Justin for his mentorship, expertise, and infectious positivity.
Jaime Johnson is the K-8 music director at Ben Franklin Academy in Highlands Ranch Colorado. She is responsible for directing all performances, middle school music/theatre electives and is the supervisor for after school classes.
Outside of Ben Franklin, Jaime is the musical director for Audience of One and plays flute for local musical theatre pit orchestras. Prior to BFA, she taught band and orchestra at three Douglas County schools and K-8 general music at a charter school in Denver.
Jaime holds a Bachelor of Music in Music Education from University of Redlands and a Masters in Music Education with an emphasis in music technology from University of Colorado Boulder.
She believes music has the ability to create well-rounded students in a way that other subjects can’t always achieve. Her role as a music teacher is to teach skills that will help students succeed in school and in life such as working with others, listening, storytelling, speaking in front of a group, being a good audience and accepting other people’s interests. Through music, she has seen students come out of their shells and embrace learning. This is what she loves to see and this is why she’s a music teacher.
Jasmine Baxter (Jaz) is a woman of God, singer-songwriter, and vocal coach/voice teacher. Jaz always knew that she wanted to sing for God and has spent the last 6 years singing and leading praise and worship at church. She began teaching praise and worship at True Hope Apostolic Church in Austin, Texas under the leadership of Justin Ash; a profound background singer and worship leader in the Gospel community who helped shape the teacher that was already within.
However, it was at her church in Dallas, Christian Stronghold that she realized that she too had the gift to shape leaders. Jasmine worked over the youth praise team with notes, song choice and performance, thus, receiving the revelation that she had influence with younger generations. It wasn’t until about a year later that God revealed to her that she was gifted to become a vocal coach. Jasmine learned vocal technique, creativity, breathing, and vocal health from gospel recording artist Gaye Arbuckle and celebrity vocal coach Ametria Dock (India Arie’s coach). She attributes the majority of her knowledge and skills to Justin Stoney. He shared a great wealth of knowledge and wisdom that Jaz plans to use with her students.
Jasmine is a lifelong learner and continues to grow and educate herself in order to give her students the best results. Currently, she is in the process of starting her own performing arts school, Pursuit School of the Arts, which will be birthed out of vocal coaching the youth. Jasmine presently lives in Atlanta, Ga with her husband, Christian Hip-Hop artist The Author, and their two children, Sarai and Timothy.
Music changed my life since I was 10. My parents gave me an electric guitar and I got to channel my raw energies through it. Little did I know then that music was gonna be part of my everyday life, in the ups and downs…
After graduating Berklee College of Music and studying piano, guitar, songwriting, and music business with the most amazing musicians and friends, I worked as TV Producer in Miami and Mexico, then as member of the band Numasbala in NYC, then as founder of the music project “Manguito” in Guatemala, yet what remained constant those years was my passion to share and teach music to others, whether in a classroom, in a birthday celebration, or even in a hospital…
In struggling with developing my own voice as singer, I kept searching and searching, studying and struggling, until I found Justin Stoney and NYVC. This experience has changed my life as a person, musician, and teacher, and I am now living, sharing, and teaching in my beautiful home country: Guatemala (you are invited to come!).
And now I’m working on new music that searches deeply into Beauty, Truth, and Goodness, and to discover other people through music.
“To sing is to pray twice.” St. Augustine of Canterbury
“As long as my heart beats rhythmically and my voice sings melodically, then my soul shall speak musically.” Javi Sames
A good music instructor goes beyond just showing a student how to use an instrument -- she also inspires a love and appreciation for music and challenges her students to believe and understand that they, too, can become great! This job is one that Jeseth Griffith does not take lightly and one that humbles her each day. A native of Guyana, South America with an upbringing in Antigua, West Indies, Jeseth's pursuit of a musical education began early in her life. At the age of seven, Jeseth asked the pianist at her church in Antigua to teach her how to play the piano. Since that day, her hunger for learning and experiencing music has never been satisfied. Her family later emigrated and moved to the United States. As she grew, she developed a natural passion for singing, taking every opportunity to exercise that gift, particularly at her church. She would later train with Karen Walker and Venus Asai and credits them both for inspiring her to teach. Her training in those formidable years paid off as she became a young adult. She began a fruitful career as a studio session singer, professional background singer and corporate band frontline performer. Throughout her 10+ year career, she has worked with various artists in the Gospel, Jazz, R&B, and Pop genres, both in recording sessions and in live performances. As a vocalist, Jeseth's professional demeanor and distinct sound breed versatility and make her a true in-demand jewel who stands out among her peers around the world. Currently, Jeseth travels regularly with wedding/corporate event bands in the Southeast and is also a passionate worship leader at Grace Church, Intl in Atlanta, GA.
Through her work in the music industry, Jeseth noticed that not every singer was privy to the type of quality vocal education that she was afforded. In 2010, after graduating with a Social Sciences degree from Kennesaw State University, she decided to put her strong foundation to work by becoming a voice trainer and vocal coach. In 2014, she completed the Vocal Teacher Training Course at New York Vocal Coaching in New York, NY under world renowned voice trainer, Justin Stoney. Employing both passion and education in her approach, Jeseth's goals with each student are to reinforce fundamental concepts and techniques and to inspire them to Confidently Develop Their Unique Singing Voice.
Jessica Callen is a music instructor of voice, piano, harp and songwriting. She currently owns and runs House of Sound, a mobile music school servicing Westchester County, NY. In addition to her own music school, she has taught at The Rye Arts Center, Westchester Community College, Scarsdale Adult School, Convent of the Sacred Heart, Amadeus Home Music School, Westchester Music School, Milton Elementary School, and the JFK Elementary School Outreach Program.
Jessica holds a B.M. in Studio Composition (Magna Cum Laude) with a concentration in harp from Purchase College in New York. While at the university, she also received professional, college-level training for piano and voice as well as instruction in music theory and composition. She received her vocal teacher training certification from New York Vocal Coaching in 2013.
In addition to teaching, she is also a professional harpist, singer and songwriter. Her original music, highlighted on 3 studio albums with her group The Callen Sisters, has been featured internationaly on BBC Radio in Wales and in publications such as Harp (Blurt) Magazine. She's performed at venues such as The Frick Musuem, The Waldorf, The Living Room, The Bitter End, Chipriani's, The Central Park Boathouse, The NY Wine & Food Festival, The Natural Museum of History and more.
Jessica Foster is a New York City-based singer and actress. She has performed in numerous regional professional theatre productions and new works in NYC. She has also worked as a voice-over artist for over ten years. She holds a Bachelor of Arts in Music from Texas Wesleyan University and is a proud member of Actor’s Equity Association.
Jessica has been involved in several studio recordings and can be heard singing the role of Leah alongside Ramin Karimloo on the Song of Solomon Original Concept Recording by Broadway Records. She worked as a member of Casa Mañana Theatre’s resident company and as a resident musical theatre teacher for the esteemed Casa Performing Arts Conservatory (formerly known as Casa Mañana Theatre School). Jessica also loves regularly leading worship at her church in Manhattan.
Jessica is tremendously thankful to Justin for the wealth of knowledge he generously shared regarding teaching voice in his Voice Teacher Training course. Jessica cares deeply for her voice students and is passionate about guiding singers of all ages to grow in their abilities and increase their confidence and love of singing.
Jessica Maroney is a singer-songwriter with her roots firmly planted in New York City. Jessica was born in Brooklyn and raised in Queens, NY. Music has always been an integral part of her life. She first started singing at the age of 11 in the local Church Choir and moved on to being a vocal major in Bay Academy in Brooklyn, NY where she was exposed to a lot of soul, funk, and mo-town. After being accepted into Fiorello H. Laguardia for Vocal Performance at the age of 14, Jessica spent 2 years studying classical music in Italian, French, German, and English. She then left to delve deeper into the more therapeutic and spiritual impact of music on people as well as dive into poetry and songwriting. She continued writing until graduation and taught herself piano and guitar as well as percussion. She moved on to study Music Theory at one of the top institutions for music theory - University at Buffalo. Throughout her college years she went deeper into instruments such as guitar, piano, synth, drums and percussion, but voice has always been her main instrument of choice. She has a true passion for writing and integration of different genres and has a very broad understanding of several different styles ranging from pop, rock, soul, blues, jazz, folk, funk, electronic dance music to classical music. Teaching has always been a natural occurrence throughout her career with the people she has worked with and she has a passion for helping other artists as well. She decided to further her understanding of singing and the voice by taking it to the next level by attending New York Vocal Coaching’s Teacher Training Program under the guidance of Justin Stoney. Some students of hers have said that she leaves you with a feeling of accomplishment and breakthrough. Jessica feels her purpose in life is truly to "break through oppression with creative expression" whether it's within or on the exterior and hopes to bring that energy to her students and others alike through her own work and in working with others.
Jessie is a voice teacher, singer, choreographer, director, and performer with over twenty years of teaching and performing experience located in the Twin Cities, MN, US area. Jessie teaches private lessons, vocal workshops, masterclasses and performance groups out of her home studio and via Skype to students around the world.
Jessie is committed to the possibility of everyone knowing the power of their own authentic voice. Through vocal exercises tailored specifically toward each individual and expertly chosen repertoire, Jessie facilitates lessons that make a difference for all students no matter what genre they choose to study. Her teaching supports classical, choral, pop, gospel, rock, jazz, musical theatre, folk, world, singer/songwriter, and opera styles. Young singers, especially those with changing voices, not so young singers, beginners and professionals, have found strength and confidence in their voices while working with Jessie.
Jessie studied at Luther College, Cardinal Stritch University, and is a graduate of New York Vocal Coaching's Teacher Training program. As a lifelong learner, Jessie was delighted to learn of Justin Stoney’s Teacher Training Program. Justin’s educational philosophy, expert knowledge of every aspect of vocal training, and joy for his craft is a clear match for vocalists and teachers who strive to continually hone their skills in order to meet the needs of a diverse student base. Jessie extends this education to her students, sings with area choirs, facilitates and attends workshops for teachers, and continues to seek out and apply best practices tailored to each student. As a member of The Voice Foundation, National Association of Teachers of Singing, Music Teachers Association, Minnesota Music Teachers Association, and Minnesota River Valley Music Teachers Association, Jessie is able to provide recital and competition opportunities for all students. Join us at Midwest Vocal Academy and realize the power of your authentic voice.
John Wenning is a freelance choral arranger, clinician, vocal coach, consultant and adjudicator for many schools, festivals and competitions. He is currently the staff accompanist and teaches private voice for over 30 students at Carmel High School, in Carmel, Indiana. John is a 1982 graduate of Ball State University in Muncie, Indiana with a BS and MA in Music Education. John spent 33 years teaching vocal music in the public schools. He taught both high school and middle school vocal music. For twenty-eight of those years, he was the choral director at Huntington North High School in Huntington, Indiana. John was the director of the nationally acclaimed Varsity Singers show choir. While under his direction, the Varsity Singers were named Grand Champions more than 70 times and received numerous awards for their outstanding vocal production. Each year his concert choirs consistently received Division I ratings at the Indiana State School Music Association organizational competitions. In 1996, they were named Indiana State Grand Champions. John has also been musical director for over 50 different musical productions during his tenure.
John was selected as “Teacher of the Year” for the Huntington County Community Schools and “Educator of the Year” by the Huntington County Rotary Club in 1994. He was also recognized as “Teacher of the Year” in 2000 by the Fort Wayne, Indiana Radio Station WMEE. In 2006 John was recognized by Ball State University and the School of Music with the Alumni Achievement Citation award. In 2009, John received the Golden Apple Award celebrating outstanding teachers in Northeast Indiana from 21Alive, Fort Wayne, Indiana newscast center. In 2022 John received the Huntington Honors Award for outstanding contribution to the arts and humanities for Huntington County, Indiana.
John took part in the NYVC Voice Teacher Training under the outstanding teaching of Justin Stoney to further develop the understandings and nuances of the singing voice. Studying with Justin has been one of John’s biggest highlights of his career. The valuable information he took away from this experience has taken him to a whole new level in both his consulting and private instruction.
One of John’s greatest joys as a music educator is to equip aspiring vocalists, pianists and fellow music educators with the tools to realize their musical potential. His mission is to make a positive difference in the lives of all those he comes in contact with.
Since the colorful walls of pre-school Jonathan Farrington has been singing and performing and now the 25 year old Bahamian artist has made his mark in the industry as one of the vibrant and convicting gospel singers of our time. Known for his warm tone, soul stirring lyrics and authentic riffs, he takes gospel music to a whole new level. The anointing of God which rests heavily on him, allows Jonathan to minister to persons on many different levels through his music, which in their lives being totally transformed.
Confident, vibrant, and innovative are just a few words to describe Bahamian Gospel sensation Jonathan “Jonny” Farrington. Passionate about the arts at a young age, he was active in school plays, concerts, musicals and recitals. In 2007 he entered The Bahamas National Arts Festival singing competition and results won the Gospel title for Best Male Vocalist.
At 17 Jonathan joined the Bahamas National Youth Choir, where he received vocal training from director Cleophas Adderley. He also gained a greater appreciation for other genres of music such as jazz, negro spirituals, classical, and reggae. As a member of the choir, Jonathan traveled extensively to the USA, Europe, South Africa and other Caribbean Islands, representing the Bahamas as a cultural ambassador.
After parting from the secular, all-male group “No Way Out”, Jonathan won the popular reality TV show, BTC Starmaker, and was signed as BTC’s first voice spokesperson in 2010. During his transformation from secular to Gospel music, Jonathan realized that he had a higher calling, so he devoted his music as a message of hope that would uplift and transform lives. He had his first gospel concert and after its success within the nation he started his own gospel group called Risen Destiny with friends who were apart of the concert as background singers. However the group only lasted a short time, but during its operation it was very effective and helped to inspire its members to walk into their purpose in God and ministry. Shortly thereafter, Jonathan became a lead vocalist in the Gospel ensemble, “Shaback” the Bahamas’ leading top ensemble.
In 2012, Jonathan hosted his first album release concert featuring Kiera “Kiki” Sheard. There, Jonathan released his first hit radio single entitled “We Need You” from his EP “It’s Time For Me”, produced by Elevation Records. Jonathan continues to enhance his fresh and diverse sound that showcases his love for other genres of music. He does not like to be boxed in and does fit himself into one category of music.
Jonathan currently serves as the senior judge on the popular Bahamian televised singing competition, 242 Untapped which is in its 3rd season. As an entrepreneur he also creates jingles and ads for companies and he also does sing-a-grams for persons celebrating birthdays and anniversaries. He also works with the Elevation Record Label where he produced, arranged and wrote many popular and impactful songs from some of the greatest Bahamian artist of our time. One of which is the heart moving, We Are One Anthem. A song of unity performed by an all star cast of Bahamian gospel artists, which was emotionally penned by Jonathan after the tragic plane crash of Dr. Myles Munroe, his wife Ruth Munroe and other great leaders within our country. Jonathan desire for the song was to remember and honor those that fatally lost their lives in the crash and to also bring about a greater awareness of unity within the Bahamas.
In search of fulfilling his purpose in a greater way, Jonathan began seeking for direction toward new music. He began searching for new background singers, however while in search he started to have visions and dreams of himself leading and singing with other young singers on large platforms. He quickly realized that God was showing him more than just background singers but a new ministry and the new direction he was searching for towards his music. Hence, Grace Generation was conceived, a group of anointed singers and musicians who though faced with struggles in their life, have committed themselves to using their gifting and talents to bring about change in the earth under the leadership of Jonathan. Farrington’s desire through Grace Generation is to inspire and empower this generation to fulfill their purpose in God knowing that a life without purpose is simply death. He is excited about this new mandate and anticipates that God would do some new and amazing things within his career, music ministry and life.
In order to develop his gift and talent and learn more about the field in which he is in, Jonathan recently entered the competition “The Shot”, a mentorship-based vocal talent search focused on providing emerging talent with opportunities for professional development. Jonathan placed 1st runner up in the competition and feels very accomplished.
Jonathan L. Segal is a "Musicality teacher". As a voice teacher and coach, he specializes in jazz, broadway, and pop. He is a pianist, singer, entertainer, songwriter, author, and music educator. He’s had a diverse career. He has written music for television, including themes and songs for "Monday Night Football", "Another World", "Mighty Mouse, the New Adventures", and "One Life To Live" (for which he received an Emmy-nomination). He has starred in theatrical tours of Broadway shows ("Pump Boys & Dinettes"), music-directed on TV ("Afterdrive" starring Denis Leary, two Tom Brokaw specials), accompanied a number of music greats (Chuck Berry, Dizzy Gillespie), entertained as a singer/pianist at approximately one-thousand private events (events for Broadway’s Tony Awards, the British Consulate, Al Gore, Mayor Bloomberg, The Discovery Channel, many major corporations), concertized ("The Great American Songbook on the Jazzy Side") played jazz in Tokyo, worked in industrial theater for many more corporations, music directed off-Broadway ("Hello Muddah, Hello Faddah") and worked on Broadway (teaching the Von Trapp children their songs for “Sound Of Music” and playing in The Radio City Music Hall Pit Orchestra).
He has been a blue ribbon judge at the Emmy Awards, and appeared in Who’s Who in Entertainment and Who’s Who in Emerging American Leaders. He has acted in film ("Baby It’s You") and on radio. His novel, "The Disharmonic Misadventures of David Stein" is a funny, far-out jazz mystery. He has written the lyrics, music and book to a new musical, "Space Vacation", and has put out an album of his jazzy/funny songs and another of his country songs written with Christine Asero. Jonathan has been the middle school chorus director at Trevor Day School, the music specialist at Solomon Schechter School of Manhattan and PS6, and music director at Crane Lake Camp and for the Summer Stock musical theater camp at the JCC in Manhattan. He teaches piano privately and coaches singers. Jonathan is thrilled to have taken New York Vocal Coaching's "Voice Training and Teacher Certification" course with Justin Stoney.
Joseph M. Smith is a voice teacher, singer, songwriter and currently the Minister of Music at the Lamb’s Church of Manhattan. Born in Brooklyn, New York, Joseph has always been involved in music. He began taking piano lessons at the age of 8 and started singing at the age of 10 at his former church, The Brooklyn Tabernacle.
While singing at the Brooklyn Tabernacle, Mr. Smith has had the opportunity to sing back up for artist such as Cece Winans and Anthony Evans. He was also a member of the youth choir for many years and a worship leader for the children and youth ministry. Joseph had the privilege to sing with the Brooklyn Tabernacle Choir during the 2nd inauguration of President Obama.
Mr. Smith graduated from Nyack College with his Bachelors of Sacred Music, with an emphasis on vocal performance. During his time there, he was a member of the chamber singers, chorale, opera theater workshop, and the jazz ensemble. Joseph was also the worship leader for chapel services for 4 years in the Manhattan Campus. Joseph was involved in many ensemble tours including on the East coast, Mid-West and Puerto Rico.
During his collegiate years, Joseph had the opportunity to sing in Carnegie hall, Calvary Baptist Church, and as a member of the chorus for the production of “Philharmonic 360” in the Park Avenue Armory.
Desiring to become a voice teacher, Joseph was recommend to take the voice teacher certification from NYVC. After completing his 40-hour Teacher Training Program with Justin Stoney, Joseph opened his own studio and has begun teaching voice immediately in his hometown of Brooklyn and on the Lower East Side of Manhattan. Mr. Smith’s motto is:
“Do you think you can sing? Let me make you a believer! Join me at J.M. Smith Vocal Studio and let US discover YOUR voice together.”
Juanita is a Canadian voice teacher and worship leader. She is passionate about all things music and experiences so much joy when she is able to sing. Juanita has been singing for years, but it wasn’t until she had an opportunity to take private lessons from a very gifted teacher that she learned that she wasn’t just stuck with the vocal range or tone that she had. Because she felt such growth and vocal freedom with the new tools she learned, she knew she wanted this for every singer. It was because of this that she pursued training to become a vocal teacher and vocal coach.
Juanita has a passion to equip singers to become the vocalists they’ve always hoped they could be.
Juanita is always excited to work with new students who would like to grow as vocalists. If you would like to work with Juanita, please feel free to visit her studio website at www.jrvocals.com.
Julie Brooks is a New York based voice teacher. She has been passionately studying voice since she was in her early teens, and has been lucky to study with many of New York’s top voice teachers. She is a graduate of The American Musical and Dramatic Academy, where she studied Musical Theater. She has also completed all three levels of the Music Theater Vocal Pedagogy Program at Shenandoah University. She has been playing piano since the age of 4, and spent her high school years as the pianist for her school’s jazz band. Before being hired to the staff of New York Vocal Coaching, Julie Brooks trained as a voice teacher under Justin Stoney and completed the New York Vocal Coaching 50-hour Teacher Training.
As a performer, Julie is a member of Actors Equity. Some highlights of her theater career have been traveling around the country twice in the national tour of Fiddler on the Roof as Bielke/Grandma Tzeitel, where she worked beside theater luminary, Topol. She also originated the leading role of Chloe in Frank Wildhorn's Broadway musical Wonderland.
Julie loves working with students of all ages and levels, and helping each one truly unlock his or her vocal potential.
Julie Reumert is a New York based teacher and singer. She specializes in opera, classical singing, musical theater and pop.
As Denmark’s biggest opera star, Julie Reumert has sustained national and international acclaim over the past five years.
Julie has received internationally and nationally recognized awards for excellence in her field and has performed a leading role in distinguished opera houses all over the world. Throughout her young career, Julie has won numerous prestigious and nationally recognized awards for her talent.
Julie’s professional work have been written about extensively and in major media around the world. She has been written about both in publications well known inside opera circles and in major national and international media with general audiences. Notably, Julie and her work have been featured in the New York Times, the New Yorker, Vogue Magazine, and in all major Danish newspapers, magazines, and online publications.
Julie has consistently been chosen by distinguished opera houses across the globe to fill leading roles in their operas. Ms. Reumert Haagensen has repeatedly had leading roles and featured solo parts in music venues that are well-known and highly regarded both in informed opera circles and the general public, such as Carnegie Hall and Lincoln Center.
Julie has been Gretel in “Hansel and Gretel” at the New York Lyric Opera, Amor in “the Coronation of Poppea” at Lincoln Center, “Kate Pinkerton” in Madame Butterfly at Carnegie Hall, Eurydice in “Orfeo and Eurydice” at the Opera of Fyen in Denmark, Venus in “the Judgment of Paris” at the Manhattan School of Music, and Juliet in “Romeo and Juliet” at La Lingua Della Lyrica in Italy.
She has also performed as the lead soprano and soloist in performances around the world—in Julliard's Bach Opera in New York, the Orchestra of Etat's Opera Concert in Denmark, Hungary and Mexico.
On account of her many leading roles Julie also performed at the TEDxEast conferences in New York City. TEDx conferences are part of TED, an important nonprofit organization devoted to “ideas worth spreading.”
Julie Reumert is trained by Justin Stoney and completed the New York Vocal Coaching 50-hour Teacher Training.
Kacey Velazquez is a seasoned vocal coach, songwriter, and recording artist from New York City. Kacey has been involved in the arts her whole life, getting her start in musical theatre. When she was just thirteen years old, she began songwriting, recording, and performing her original music at acclaimed venues in New York City including The Bitter End, 54 Below, The Cutting Room, The Astor Room, and the St. George Theatre.
In addition to
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6669
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dbpedia
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3
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https://www.imdb.com/name/nm1940502/
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en
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Oliver Thornton
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Oliver Thornton. Actor: De-Lovely - Die Cole Porter Story. Oliver Thornton was born in 1979 in Abergavenny, Wales, UK. He is an actor, known for De-Lovely - Die Cole Porter Story (2004), The Only Living Boy in New York (2017) and Godforsaken (2010).
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en
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IMDb
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https://www.imdb.com/name/nm1940502/
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Oliver Thornton was born in 1979 in Abergavenny, Wales, UK. He is an actor, known for De-Lovely - Die Cole Porter Story (2004), The Only Living Boy in New York (2017) and Godforsaken (2010).
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6669
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https://uk.news.yahoo.com/pro-palestine-protesters-accused-antisemitism-104934061.html%3Fguccounter%3D1
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en
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Pro-Palestine demonstrators accused of antisemitism after protesting outside Fiddler on the Roof
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2024-08-06T12:11:52+00:00
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‘Targeting a symbol of Jewish culture shows that these people hate Jews,’ claimed one commentator
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en
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https://s.yimg.com/rz/l/favicon.ico
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Yahoo News
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https://www.independent.co.uk/news/uk/home-news/palestine-israel-fiddler-roof-regents-park-b2591807.html
|
Pro-Palestinian protesters have been accused of antisemitism after demonstrating outside a performance of Fiddler on the Roof in London.
A video shared on social media shows protesters holding Palestinian flags and accusing theatregoers at a cafe next to Regent’s Park Open Air Theatre of “Zionism”.
The play is not about Israel but instead tells the story of a Jewish man preserving his family’s traditions in a village in imperial Russia at the turn of the 20th century.
The performance on Monday went ahead as planned after the protest at the cafe.
A Twitter/X user, who identified themselves as Jewish, wrote: “Presumed it was an Israeli theatre company but it’s not. If this is what it looks like, this needs stamping out right now – we cannot be having this.”
A second Twitter/X user referenced the widespread anti-Muslim demonstrations taking place across the UK in the wake of last week’s Stockport stabbings and said the incident should receive a similar level of condemnation.
“This is a performance of Fiddler on the Roof,” they wrote alongside footage of the protesters. “So, if you’re busy condemning racist demonstrations, but not this, & you don’t think they should be prosecuted, stop preening yourself. You’re happy with racism – it’s only the target that you worry about.”
The Combat Antisemitism Movement added: “Pro-Palestinian protest at a performance of Fiddler on the Roof in London tonight.
“The play has nothing to do with Israel. It has nothing to do with Zionism. Targeting a symbol of Jewish culture shows that these people hate Jews.”
Dave Rich, head of policy at the Community Security Trust, said: “Fiddler On The Roof isn’t just a Jewish musical: it’s the family story of most Jewish families in this country. Holding an anti-Israel protest there is pure antisemitism.”
A spokesperson for Regent’s Park Open Air Theatre said: “The videos that emerged on social media were exchanges that did not take place at Regent’s Park Open Air Theatre. Last night’s performance went ahead as planned.”
The Metropolitan Police was approached for comment.
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6669
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https://stanleyarts.org/about-us/stanley-family/
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Stanley Arts London
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2020-11-23T13:20:41+00:00
|
Stanley Arts provides a home to the brightest & best of South London’s artistic community; giving them a place to work, create & dream. Explore our Stanley Family.
|
en
|
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|
Stanley Arts London
|
https://stanleyarts.org/about-us/stanley-family/
|
BirdGang Ltd
BirdGang Ltd are an award-winning Hip Hop Theatre company with a global reputation. Founded by Simeon Qsyea, Kendra Horsburgh and Ukweli Roach, they are a collective of movement architects, bringing their spirit, craft and live experience to brands, audiences and pupils around the world. Former associate dance company to the Young Vic, and now resident at Stanley Arts, their work includes Vicycle (World tour), The Aviary (Sri Lanka, San Francisco Hip Hop Festival, The Network (Luxembourg, San Francisco), A Vice in Harlem (Harare International Festival of the Arts 2015); A Harlem Dream (The Young Vic) and Street Dance 3D 1 and 2 the Movie (UK, India). Directly funded by ACE, Stanley Arts, Breakin’ Convention, The British Council, The Young Vic and Croydon Council.
BirdGang Ltd teach Hip Hop to a growing number of young people and through their dance classes and commercial work they support young professionals as well as dance lovers and followers, providing exercise, culture and education.
Since 2019 Birdgang have been resident artists at Stanley Arts bringing their combination of dance, education, film making, and movement architecture to a range of new projects currently in development – including a new piece for Stanley Arts’ upcoming Freedom of Movement Festival.
#BGLTDproduction #BGLTDcommercial #BGLTDeducation #BGLTDfilm
www.Birdgangltd.com @birdgangltd
Boundless Theatre
Boundless Theatre champion creative work for and by young people aged 15-25 years old across the UK. Our vision is for a world where all young adults harness their creativity to lead culture. We create exhilarating, relevant new plays and community projects with and for young audiences and curious others, touring across the UK and internationally.
Theatre for a boundless generation.
Our online community ‘The Boundless Drama Club’ is for anyone aged 15-25 years old starting out in theatre: access creative opportunities, workshops and advice in a diverse community. With this free online mailing list, you’ll have access to high quality creative resources, challenges and masterclasses, mentoring and real time connections to peers and the Boundless team. If you’re starting out, start with us.
If you want to learn more about Boundless’ work then visit our website at www.boundlesstheatre.org.uk or email our Executive Producer, Adele at Adele@boundlesstheatre.org.uk
Website: www.boundlesstheatre.org.uk
Boundless Drama Club: https://boundlesstheatre.org.uk/projects/boundless-drama-club/
Twitter: @boundlessabound
Instagram: @BoundlessaBound
Cherry Stars
Cherrystars are an award winning, community performing arts school. Their team consist of BRIT School alumni and professional television and theatre actors who specialise in teaching innovative performing arts classes to the early years.
The core values at Cherrystars are Communication, Creativity, Confidence Building and Community. They have taken great pride over the last decade, to have provided a safe, nurturing and affirming place in the local community for young children to unleash their creativity and develop a love of the arts.
cherrystars.co.uk
Queer Croydon
Queer Croydon – a one-stop shop for South London & Croydon’s queer events, news, and services.
Who are Queer Croydon?
Queer Croydon was launched as part of Croydon’s year as London Borough of Culture; with lots of help from our friends at Stanley Arts and Their Majesties.
We are an open platform for queer stories & events from Croydon and South London, sharing content across our website and social channels. We are also going to be producing our own Queer Croydon live events, showcasing the very best of local queer talent.
Queer Croydon is brought to you by a voluntary collective of queer artists and activists who make up the Queer Arts Advisory Group.
To find out more:
www.queercroydon.com
@queercroydon on FB/Instagram/X/ TikTok
Croydon Brass
Croydon Brass was originally formed as the Croydon Temperance Silver Band in 1911. The band is a friendly, diverse and enthusiastic group of players based at Stanley Arts in South Norwood. They perform at a variety of events in and around Croydon, as well as further afield.
The band’s Musical Director Paula Goodwin is also currently the associate conductor of the All Saints Concert Band.
croydonbrass.org.uk
Clare Haward
Acclaimed artist Clare Haward‘s work appears in galleries around the country and in many private collections. She regularly exhibits in national shows and competitions.
Her quixotic approach to painting confounded the presenters on the recent Sky Landscape Artist of the year for which she was selected. Her approach is rigorous and sensual, sensitive to colour and composition, edge and tone. Clare is acutely aesthetic with an exquisite colour sense and best of all she’s a fine communicator.
clarehaward.co.uk
Gareth Brookes
Gareth Brookes is a graphic novelist, printmaker and embroiderer who studied at the RCA. He uses unusual materials such as crayons, textiles and pressed flowers to make his graphic novels which include The Dancing Plague (2021, SelfMadeHero) A Thousand Coloured Castles (2017, Myriad Editions) and The Black Project (2013, Myriad Editions).
In 2018 the French edition of The Black Project was nominated in the Sélection Officielle at the Festival de la Bande Dessinée in Angoulême.
His work has appeared in exhibitions including Comics Unmasked at the British Library, the Storytelling Cities project in Seoul, South Korea, and two solo shows in London at the 155a Gallery and the WAR Gallery.
He is currently studying for a PhD at UAL.
gbrookes.com
3 Restorers
3 Restorers are a boutique workshop offering a furniture restoration & repair service to London and surrounding areas.
Whether you’re looking to revive an inherited chair with sentimental value, conserve a cherished antique chest of drawers, refurbish that (almost) perfect, mid century table you’ve just won on eBay or you simply wish to repair rather than replace in order to be environmentally responsible – they can help.
3restorers.com
Spiritual Tiik
NATURAL EMPATH, REIKI MASTER TEACHER, TRANSFORMATIONAL SPEAKER & COACH, THETA PRACTITIONER, AUTHOR, ENTREPRENEUR, AND RISNG GALACTIC STARSEED INCARNATED TO SUPPORT INDIVIDUALS TO INGITE THEIR TRUE POWER AND REDISCOVER THEIR PURPOSE.
Spiritual Tiik is a natural empath, reiki master teacher, transformational speaker & coach, theta practitioner, author, entrepreneur and rising galactic starseed incarnated to support individual to ignite their true power and rediscover their purpose. She has impacted millions of people around the world through her inspirational content across all of her social media platforms. Tiik has over two decades of experience, however, her mom would say she came out the womb ready to support individuals to rediscover their truths through cultivating change in their mental physical & energy bodies.
Spiritual Tiik is an entrepreneur launching creating brands such as Wonderfully Weird, a world wide initiative to encourage beautiful vessels to live their life authentically. She is the facilitator of life changing virtual and physical retreats for both the divine feminine and masculine encouraging individual awareness to energy to promote self healing. She supports regular mindfulness through her online workshops and classes such as Vibrate With Tiik and The New Moon Circle. Tiik intuitively creates bespoke plans to work with individuals through combining her natural awareness as an empath in conjunction with spiritual modalities utilising the teaching of Reiki, Theta Healing, Sound Therapy, Magnetic Therapy and Crystal Therapy.
“Eye am You, You Am Eye, We Are One.” Spiritual Tiik
Find out more: www.spiritualtiik.com/elevation
Good Wolf People
Good Wolf use drama and theatre to support people to learn, express themselves, be a community, be creative, and experience joy.
Kelly Ng, John Handscombe, Jo Vyvyan & Krzysia Balinska make up the team behind Good Wolf, combining their experience in Youth & Community Work, Applied Theatre, Writing and Directing.
Most recently they have been delivering online community projects, creating audio plays, and supporting young people to be connected and enjoy drama. They also provide external evaluation to arts and youth organisations.
goodwolfpeople.co.uk
Rosie Bright
Rosie specialises in the conservation and restoration of decorative surfaces (historic buildings) and furniture. She splits her time between working on site in some of the country’s most prestigious buildings and her workshop here at Stanley Arts, where she continues to carry out repairs on a diverse range of objects from polychrome sculpture to antique furniture.
Recently Rosie has been using some of her spare time to start the restoration of some of the tiles surfaces in the main Stanley Hall. Her work is slowly exposing the original grandeur of the space hidden behind layers of thick oil-based paint.
linkedin.com/in/rosie-bright-653683b
Undiscovered Talent UK
MORE THAN JUST A TALENT COMPETITION!
Undiscovered Talent UK is a platform for upcoming talent which gives hope to creative people to dream big and continue to pursue their greatness. Founded in 2019 by a creative individual named Ronell Coward, who has a passion, focus and simply loves the entertainment industry. Anyone, any age can get involved with our platform features which involves magazine, blogs, interviews, music, reviews, feedback, social media promotion and perform at our events and competitions online and live.
There’s a lot of Talent in the UK so why not create a platform for performers, acts, artists and creatives to take the stage and shine. We plan to take the show all over the UK and Worldwide to find Undiscovered Talent in many cities and countries. So watch out you big T.V shows, UTUK is right behind you.
#UndiscoveredTalentUK
Instagram – @undiscovered_talent_uk
Facebook – Undiscovered Talent UK
YouTube – Undiscovered Talent UK
Twitter – @UTUK_TALENT
Website
www.undiscoveredtalentuk.com
Vinyl Sign Studio
Vinyl Sign Studio is a family run business that offers multiple graphics and signage solutions for retail, offices, events & exhibitions, independent traders and more. Its founder, Walter Forero, has a family history of graphic designers, printers and sign makers and cumulates over 20 years’ experience within the graphics and sign making industries.
As professional London sign makers, Walter and his team know what a tight deadline means and can offer fast turnaround when needed. Whether you are looking for a new front sign for your shop, a large-scale branding for your building or a vinyl lettering for your vehicle, they can help your business stand out from the crowd through personalised, functional and visually appealing signage. Their main workshop is located in London Bridge and they recently opened another workshop here in Stanley Halls to respond to the increase in demand in the South London community.
www.vinylsignstudio.com
|
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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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2024 Pop Conference: Call for Presentations
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"Jason King"
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2023-10-02T01:29:12.507000+00:00
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Pop Conference 2024: Legacy! Legacy! Music, Collections and ArchivesMarch 7-9, 2024 at USC Thornton School of Music, Los Angeles, CaliforniaPop Conference is the premiere music writing and pop music studies conference. Held every spring, the conference features the world's leading scholars, journalists, writers, musicians, as they come together for a long weekend to present papers, roundtables, discussions, and performances about popular music. The Thornton School of Music at the University of S
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Pop Con
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https://www.popconference.org/post/2024-pop-conference-call-for-presentations
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Musical legacies are trails, what is left behind, or what survives. Legacies are sometimes built on, or around, archives, collections, sources and ephemera—some stamped as “official” in universities and museums, some filling in basements, stashed away in drawers, and in dusty backrooms of community radio stations. Who are the curators and custodians of musical legacies? Who’s mopping up the mess? Some legacies are, meanwhile, passed down orally through stories, and others through participatory music practices and performance repertoires that often turn the official story towards other vistas. What relations to land and to each other do these legacies trace? Legacies are sounded in multiple languages and formats (what about remastering?), and they are constantly in process of becoming. And what is the role of independent record store owners in legacy building? Southern California alone is home to dozens of record shops. Legacies are not just present in the music itself; rather, they are constantly in formation, on the brink of arrival, carrying us into the future; the fuel for intense and contentious musical debates among critics and fans. Some are conversations with broad reach and others more intimate. Some voices are amplified, and others short- circuited. What does it mean to leave behind a legacy? When does a legacy become a burden? What musical sounds, genres, formats, mediums, traditions, songs, and artists are remembered and celebrated—and which ones fade to black? How do 21st century platform ecosystems and streaming services change the way we think about musical archives, collections and legacies? When is it no longer useful to mark musical anniversaries? Music lovers all collect at some level — selectively and modestly for some, extravagantly and incessantly for others. And those collections leave a legacy, either for offspring or for a welcoming archive. No matter how consequential the collection, they all represent memory and the passing down of aural DNA. As Geoffrey O’Brien put it in Sonata for Jukebox: Pop Music, Memory, and the Imagined Life: "In the same way that pieces of their possible lives are depicted in old photographs and postcards ... the rhythm and lyrics of their lives are incised on vinyl, waiting to be revived in the imagination of their descendants." There are numerous examples of how archives and collections connect to popular music practices. For starters, think of Zora Neale Hurston and Alan Lomax whose practices of documenting produced many legacies and counter-legacies. Jamila Woods’ acclaimed 2019 album Legacy! Legacy! —the source of this year’s Pop Conference title—pays tribute to the artists who created the building blocks for her sound and opened the field for her musical self to emerge. In “Zora,” she sings “None of us are free but some of us are brave.” In Woods’ voicing, a rich archive of sounds emerges from past acts of musical bravery; these sounds move across time and space to defy genre and vitalize those dancing toward freedom. Musicians like Sudan Archives, meanwhile, point us towards the centrality of collections in their very name. And in Janelle Monae’s “Q.U.E.E.N.’ and THE CARTERS’ “Apeshit,” these artists invoke the site of the museum to wrangle with the power of colonial archives and create new records of value and worth. In “Put Your Records On,” Corrine Bailey Rae beckons to “tell me your favorite song” — share the most personal part of yourself from your collection. While in Prince’s “Musicology,” he warns, “Don’t you touch my stereo / These is my records!” — you can listen to his collection, but don’t even think about handling the sacred vinyl. Documentaries like Rumble: The Indians Who Rocked the World provide a rousing archive of Indigenous influence in the making of pop music hidden in plain sight and sound. Living legacy sites like New Orleans are defiant but touristed. Girl in a Coma’s “Clumsy Sky” video claims the local bar as a potent site of re-sounding Chicana punk within Tejano conjunto legacies. Break it All: The History of Rock in Latin America/Rompan Todo opens our ears to influences from abroad. Nobuko Miyamoto’s memoir, her “long song” of reflection, draws upon Japanese American detention camps, Hollywood film, and community convening to document the musical building of solidarity across communities usually kept apart. And one of hip-hop’s most influential collectives in the early ‘90s, DITC [Diggin’ In The Crates,] forefronted its artists’ (Fat Joe, Lord Finesse, Showbiz & AG, etc.) archival obsession for vinyl records. From that crate-digging and sampling to analog nostalgia and dead media dreams, what’s old is new. In the archives of memories and ofrenda practices, there is no fate worse than to be forgotten. So it’s time to party in the archives (in whatever form they take)!
Here is just a partial list of broad ideas that Pop Conference presentations might help address. Your submissions don’t need to explicitly answer these questions nor do they need to be as sweeping in scope. We see them as guiding concepts: ● Relation between tribute, convivencia, legacy ● Legacy of longing● Decolonial Archiving● Collective archiving / Sound Relations: Native Ways of Doing Music ● Legacies of participatory music practice● Archives of emancipation ● Crate digging● Convivencia/The convivial ● Building for the future and the present● Heritage and veteran acts● Legacy and world making● Old and new technologies and formats● Record, cassette, and CD collecting● Ephemeral evidence and sonic residue● Social media ephemera● Hardcopy ephemera - flyers, posters, tickets● Concert T-shirt collections and murals● Fugitive legacies ● Lost legacies● Vinyl enthusiasm ● Vinyl record covers ● Liner notes ● Musical legacies of particular artists, places, geographies ● Zines● Concert DVDs/Netflix concert specials● Quotation, reiteration, and singing with the archive● Repatriation● Memoirs, autobiographies, and autoethnography● Museums and music or sound● Philanthropic support for archival creation, housing/ storage, and maintenance● Crowd-sourced archives● Post-custodial and non-custodial archives● Memory work● Oral histories● Archival silences and gaps● Primary source accessibility and hidden collections● Feminista music archiving● Ethics, copyright, and intellectual property● Inequity and unconscious bias● Labor of collectors, archives creators, documentarians, and archivists● Material culture● Interpolation, sampling, remixes, covers, and the citational practices involved● Rock camps nurturing future legacies● T-shirt walls as embodied and living archivesTraditional papers, panels and roundtables are still welcome and we want to embrace fresh conceptions and experimentations in presentation styles and formats. As such, we encourage your submissions to not only consider what you’re presenting on but also how you’re presenting. This is an opportune time to rethink how we engage with another to share ideas and tell stories. All special requests that require access non-traditional equipment, technology or access to special venues will be subject to additional review by the Programming Committee; please attach a budget if you are proposing a special project, paper and roundtable presentation that requires additional funding from the PopConference. In all cases, self-funded special projects will be given priority.● Participatory music workshops● Participatory writing workshops● VJing● Video work● Sound work● Fashion films● Sonic-spatial tours of the city● Conversations with pioneers of musical gathering and documenting● Archive tours● VR site visits (especially for more remote and even international locations)● Live modular performances and other live movement performance practices.
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https://www.grantthornton.com/insights/articles/banking/2024/interagency-final-rule-requirements-combine-art-with-science
|
en
|
Community Reinvestment Act: Interagency final rule requirements combine art with science
|
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2024-04-25T00:00:00
|
Getting ahead of data collection and monitoring progress toward the final requirements will be important not only for preparing for the existing requirements but also because more data collection may be required in the future.
|
en
|
/etc.clientlibs/grantthornton/clientlibs/clientlib-site/resources/icon-192x192.png
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Grant Thornton
|
https://www.grantthornton.com/insights/articles/banking/2024/interagency-final-rule-requirements-combine-art-with-science
|
Big changes are here, and banks need to start preparing now
The Community Reinvestment Act (CRA) is experiencing its biggest set of changes in 25 years. As announced by regulators on March 21, 2024, the 2023 CRA Interagency Final Rule (“2023 CRA Final Rule”) will come into effect on Jan. 1, 2026. The new final rule has many complexities and changes that will impact banks of all sizes. Specifically, the 2023 CRA Final Rule requires that “Large Banks,” those with more than $2 billion in assets, to be evaluated against new standards for CRA ratings and requires new data collection practices for deposit accounts for banks above $10 billion.
The 2023 CRA Final Rule specifically requires an increased focus on community reinvestment and full implementation of the rule by Jan. 1, 2027. The rule elaborates that the 2023 CRA Final Rule implementation will be staggered, requiring banks to comply with all other provisions of the final rule, except for certain reporting requirements by Jan. 1, 2026, and all reporting requirements to be applicable on Jan. 1, 2027.
CRA’s intent has always been to encourage banks to help meet the needs of the communities that they serve; that intent is still present in the final rule set by the bank regulators: the Board of Governors of the Federal Reserve System (FRB), the Federal Deposit Insurance Corporation (FDIC) and the Office of the Comptroller of the Currency (OCC). “However, there are big changes in the criteria and new tasks for all banks. In many ways, this feels like a complete overhaul of an existing rule,” said Grant Thornton LLP Managing Director and Regulatory Compliance Capability Leader Leslie Watson-Stracener.
CRA exam cycles can range from one to three years, depending on previous CRA and compliance ratings, as well as bank asset size. CRA ratings are public, meaning that they can directly affect the bank’s reputation and their ability to execute strategic initiatives such as mergers and acquisitions. Additionally, the OCC has proposed additional guidance limiting an acquiring bank from executing a merger or acquisition for banks with a CRA rating of “Needs to Improve” or “Substantial Noncompliance.”
A key aspect of the existing rule that has been enhanced is the definition of assessment area criteria. Banks with over $2 billion in assets will now be required to delineate facility-based and retail lending assessment areas (FBAAs and RLAAs) with consideration of whole counties, metropolitan statistical areas and non-metropolitan areas where the bank has originated more than 150 home mortgages or 400 small business loans in each of the preceding two years.
“One of the changes is that large banks now have to consider the entire county they’re operating in and how they’re serving that entire community,” Watson-Stracener said. “As they begin thinking about the requirements, they should be asking themselves if they can adequately serve those communities through existing branches or through another mechanism. Bank management will need to consider this from a strategic perspective.”
Additionally, four new tests to evaluate CRA performance have been established:
The Retail Lending Test evaluates a bank’s efforts to serve the legitimate credit needs of low-to-moderate income (LMI) individuals, small businesses, small farms and LMI census tracts in FBAAs, RLAAs and outside the RLAAs.
The Retail Services and Products Test assesses the availability of a bank’s retail banking services and retail banking products and their responsiveness to credit needs.
The Community Development Financing Test evaluates how well a bank meets the community development financing needs in each FBAA, each state or multistate metropolitan statistical area.
The Community Development Services Test considers the importance of community development services in fostering partnerships among different stakeholders, building capacity and creating conditions for effective community development, including in rural areas.
In consideration of this expansion of the assessment areas, Dennison said, “This underscores the importance of active debt facilitation and community development within the final rule.”
For large banks, specific weights will be applied to each performance test conclusion:
A performance context helps turn data into stories
Although the CRA does not require self-evaluation, many banks choose to create a performance context to provide their regulators with a summary of their CRA initiatives and the impact on the communities they serve. Regularly updating this narrative and contextualizing results can assist banks in monitoring their efforts to meet the needs of the communities they serve. Banks that provide a narrative demonstrating a strong connection with the communities they serve can improve their CRA ratings and further enhance their reputation.
“The 2023 CRA Final Rule is broad and has areas deliberately presented for banks to interpret in their own way,” Watson-Stracener said. “Not all aspects of its implementation can be directly and consistently measured. This is why the performance context carries such importance.”
Key steps in preparing for CRA changes
Complete an impact assessment. Assess the current CRA program and determine what will need to shift to meet the new requirements and the institutional goals.
Design and prioritize solutions. Identify enhancements needed to implement new requirements and better serve the community. Prioritize based on implementation timelines and strategic goals.
Develop budgets and strategies. Initiate discussion with the board and other key leaders about compliance budgets and strategies.
Conduct a staffing analysis. Evaluate enhancements to data processes, technologies and systems needed to meet the new requirements. A staffing analysis can help determine the staffing changes and/or engagement of a third-party reviewer.
Prepare performance tracking and governance. Establish regular reporting to meet the final rule changes. Begin updating or creating robust policies and procedures, providing training and performing monitoring and testing activities.
Organize data and file collection. Establish a method of collecting and maintaining organized data and files. Implement strong controls to assure regulators of data reliability.
Contextualize results. Develop a performance context narrative that elaborates on the bank’s data and results to tell the story of how the bank is meets the needs of the communities it serves.
Prepare for more changes
Getting ahead of data collection and monitoring progress toward the final requirements will be important not only for preparing for the existing requirements but also because more data collection may be required in the future.
A pending change that would affect additional data collection is the Consumer Financial Protection Bureau’s publication of their Small Business Lending Rule, Dodd Frank Rule 1071, which aims to capture the small business lending data for use in the new CRA data analysis. However, the rule is currently being challenged and may affect some final rule requirements.
“Section 1071 is being actively challenged, and banks should consider the impact of the transition in the future,” Watson-Stracener said. “1071 is intended to work in concert with CRA modernization, but it will probably be the biggest data collection requirement for banks down the line.”
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3
| 81
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https://majoringinmusic.com/music-degrees/
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en
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Music Degrees: Reviewing the Options
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2015-08-02T18:45:09+00:00
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Choosing among several possible music degrees, considering a conservatory vs. music school vs. music department, as well as whether you'd like to graduate with a BM, BA or BS in music depends on what you want to study, which school might fit your goals best, and what you see yourself pursing after you graduate.
|
en
|
/wp-content/uploads/2016/06/favicon.png
|
https://majoringinmusic.com/music-degrees/
|
Choosing among several possible music degrees, considering a conservatory or music school or music department, as well as whether you’d like to graduate with a BM, BFA, BME, BA or BS in music depends on what you want to study, which school might fit your goals best (and how it labels the degree program), and what you see yourself pursuing after you graduate.
Do you want to go on to graduate school in music or leave the door open for getting an advanced degree in the future? Find out what credits you’ll need to have under your belt in order to meet the entrance criteria when you are ready to apply.
Is it important that you graduate in four years? If so, seek out periodic guidance and support from your music school so that your decisions and choices keep you on that track.
Bachelor of Music (BM) or Bachelor of Fine Arts (BFA)
Music schools see the BM or BFA degree as an intensive program that prepares students to be professional musicians. As a BM or BFA candidate, you’ll embark upon your four-year curriculum starting on day one (an important consideration for students considering transferring or changing their major). Music classes will take up two-thirds to three-quarters of your classes, depending on which school you attend.
Music schools offering BM or BFA degrees within universities will require you to take specific music and non-music classes. This pushes you to maintain your writing and reading skills and gives you an opportunity to round out your education. As a BM or BFA candidate, you’ll perform a recital in your junior and/or senior year.
Some schools will give you credit for AP or IB exams taken in high school. You may also be able to test out of lower level requirements. But in general, the BM or BFA degree requirements are lengthy and limit the number of electives you’ll have room for in your schedule.
BM and BFA music students who want to graduate in four years may have a hard time fitting study abroad into the regular school year. They should also realize that friends who are pursuing degrees in other areas may be able to start college as sophomores, thanks to high AP/IB test scores, but that the BM and BFA degrees are typically non-negotiable four-year programs.
Bachelor of Music Education (BME)
The BME degree prepares you for a career in teaching K-12 vocal and instrumental music, along with the preparation necessary to gain state licensure. Be sure to check licensure requirements in the state where you think you’ll want to work, as this may inform your decision about where you’ll want to go to school.
As a BME student, your curriculum will include a combination of music education courses, conducting, music theory, aural skills, and music history. You will study a major instrument, take methods courses, and gain experience through observation and supervised teaching in classroom situations. You will student teach, attend workshops and events for current and future teachers, and gain exposure to a host of professional development opportunities. You will also take a required number of liberal arts courses as well as music technology classes.
Bachelor of Arts in Music (BA)
If you want to study music but also want the flexibility to prepare for a career in another field or in a field of music not addressed by other programs or departments, you may consider the BA in music degree. Approximately one-fourth to one-third of your credits will be in music, depending on the school you attend. The other requirements will be in musicianship, general education, and electives, based on your interests. Because there is more flexibility with a BA degree, you are more likely to be able to take a semester abroad during the school year, while still graduating in four years.
Bachelor of Science in Music (BS)
The BS degree is offered at some schools where the emphasis is more business-oriented. Music business and music industry majors are likely to find themselves getting BS degrees. Some schools also offer the BS for music education and sound recording technology.
Double or Dual Degrees
Universities that house their own music colleges, conservatories or schools typically make it possible for students to get a music degree in conjunction with a degree in a separate field.
Some independent conservatories offer degree programs in conjunction with universities (e.g., New England Conservatory + Harvard University; New England Conservatory + Tufts University; The Juilliard School + Columbia University). Check to find out whether these are four- or five-year programs.
Some of the questions to ask each school:
Are there additional fees for students getting double degrees?
Will getting a double degree affect scholarships, merit awards, or my date of graduation?
What are the logistics of getting a double degree if classes are held on two different campuses?
How many students successfully get double degrees at this school?
How easy/difficult is it to get into required classes if I enroll in a double degree program?
Are there students successfully getting double degrees with whom I can have a candid conversation?
Are there advisers available who focus on the needs and concerns of students getting double degrees?
Will getting a double degree allow enough time for required ensembles, bands, private lessons, and practicing and still leave time for having a life outside of school?
Minors
Minoring in a related but separate field from your major can be a good complement to your major and may open up additional career doors when you graduate. Your minor will require fewer courses than your major, yet it still conveys a serious interest in a particular field when it comes time to look for a job or internship. Acceptance into a minor program may be based on application, audition, interview, and GPA, depending on the school and the program.
|
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6669
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2
| 22
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https://music.usc.edu/spotlights/3-paderewskis-a-new-one-act-opera/
|
en
|
3 Paderewskis, a new one-act opera
|
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2019-10-09T18:50:49+00:00
|
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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6669
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http://theartroomisonline.blogspot.com/2014/04/an-interview-with-john-thornton.html
|
en
|
An Interview with John Thornton
|
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[
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[
"Taryn Day"
] |
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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en
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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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6669
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0
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https://differentbrains.org/noise-sensitivity-on-the-autism-spectrum/
|
en
|
Noise Sensitivity On The Autism Spectrum
|
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[
"Eric Zimmerman"
] |
2019-07-11T17:31:24
|
Autism self-advocate Eric Zimmerman discusses how he copes with noise sensitivity issues.
|
en
|
DIFFERENT BRAINS
|
https://differentbrains.org/noise-sensitivity-on-the-autism-spectrum/
|
By Eric Zimmerman
Slurping of a straw, someone smacking their lips when eating, someone playing loud music in their headphones while I am trying to pay attention to something else, or chattering in whispers. These are all examples of things that I struggle with related to my enhanced senses of sound on the Autism Spectrum. These sounds do not generally catch the average human’s attention in the way that it does me. I always have a hard time dealing with it as I don’t want to be rude to someone – when unknowingly they are kind of being rude to me.
Earlier today before I started writing this blog post, I was sitting and working in my wife’s office in South Africa, where my wife runs a camping resort. She had a visitor who has children that go to school with my stepson who came with her. The lady bought from my wife two “ysee” packs – frozen ice Cream packs that are meant to be sucked on and come in different flavors. While the lady visited my wife and they spoke Afrikaans, their native language, her kids sucked and sucked on these little packets. Though one was at least 5 feet from me and the other maybe 2 and a half feet, it felt like they were RIGHT next to my ear and making these sucking and slurping noises. Neither my wife nor the lady were bothered, or could probably even hear it as they aren’t on the spectrum, and don’t have the same sound sensitivity. I so wanted to say something, but I don’t think the lady would understand my reaction, so I held it in. I told my wife later that it was something that had bothered me but was neither “Here nor There” as it did not really matter anymore.
My parents and I watch certain shows together. It is not often that we get to watch TV with my busy travel schedule, running my business and racing, but we do have our favorite shows that we like to watch like Grey’s Anatomy and Modern Family. It is something difficult to partake in this with my parents. My father likes to listen to the police scanner when I watch television with my parents, or they watch TV alone. When I am watching TV with them my dad likes to keep the scanner on and listen to it and watch the TV. I am unable to pay attention to the TV while my dad has this chatter going on. The funny thing is that I am the one who told him you could listen to the local emergency communications via an App for the phone. I sometimes feel bad that I showed him. Another thing that my father does is to eat potato chips or ice cream. I actually have to wait until they are finished their evening “Snacks” before I will watch TV with them. The ruffling of the bag of chips as he pulls them out drives me batty. I actually feel like someone is tickling a nerve with low jolts of electrical current, just this horrible feeling when he does that, or when my mother eats ice cream, she scrapes the sides of the bowl making a clinging noise between the metal spoon and the porcelain/clay bowl she is using. In fact, anyone doing that with things such as yogurt or pudding just bothers me so much. Even though it is just a soft noise from the plastic being scraped on plastic, it just “Tickles” me the wrong way. I don’t want to offend anyone by calling them out on this, but what is the best way to deal with it?
My Stepson likes to suck his fingers after eating something with his hands. It is very common in South African culture to eat meats that you eat with your hands. They have what is called a “Braai”, which is our equivalent of a Bar-B-Que. The noise of him licking his fingers in rapid succession really gets to me, just like the crackling of knuckles, another thing that people like to do around me.
I already have come up with coping mechanisms that help such as staying away from my parents while they watch TV, not eating dinner with my parents, as well as other things. But is it healthy to avoid family time because of these things? It is not their fault that I deal with this condition, but I get a lot of anxiety when I have to deal with these nuisance sounds.
Simply, there is really nothing more than you can do other than let your family, friends, and your significant other know that you deal with these noise sensitivities, it is not their fault, and to try to keep the noise to a minimum. Also, you can tell them that when it gets too bad that you will excuse yourself. If you are watching television, another idea is to get noise cancelling headphones that sync up to the television via Bluetooth so you do not have to hear the unpleasant noises.
|
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dbpedia
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2
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https://www.linkedin.com/posts/bioniqhs_bioniq-blog-bioniq-welcomes-emma-thornton-activity-7137797042214440961-Q3py
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en
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Bioniq Welcomes Emma Thornton, Former Nike and Weight…
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[
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2023-12-05T13:37:08.696000+00:00
|
🌟 Bioniq Welcomes Emma Thornton, Former Nike and WeightWatchers VP, to its Advisory Board! 🌟
bioniq is thrilled to announce the newest addition to our… | 16 comments on LinkedIn
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en
|
https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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https://www.linkedin.com/posts/bioniqhs_bioniq-blog-bioniq-welcomes-emma-thornton-activity-7137797042214440961-Q3py
|
Brand awareness is an invaluable asset, but its true worth can often be challenging to quantify directly. While metrics like impressions and reach give us a glimpse, the ripple effects of a strong brand presence are vast and varied. From attracting strategic investments and generating fresh leads to recruiting top talent and fostering partnerships, the benefits go beyond mere visibility. Think of brand awareness as the silent influencer: it might not always shout its value from the rooftops, but its impact resonates throughout every facet of a business. As we harness the power of platforms like LinkedIn, remember that every interaction adds a thread to the tapestry of our brand's narrative.
Super Bowl Sunday is upon us, and brands can't stop talking about Taylor Swift and Travis Kelce. Why is that? It's not just about their individual star power; it's about the seismic impact they've had on brand partnerships. 🎵 Taylor Swift: With an illustruous career, Taylor Swift isn't just a music icon; she's a brand powerhouse. Swift's collaborations transcend genres, creating an inclusive narrative that resonates with diverse audiences. The result? A brand magnet, contributing to an estimated $350M+ in brand value for the NFL. 🏈 Travis Kelce: Beyond the gridiron, Travis Kelce has proven that sports and style go hand in hand. His charisma and authenticity have turned him into a sought-after brand ambassador. From fashion to tech, Kelce's influence extends far beyond the field, driving epic engagement. 🚀 The Common Thread - Authenticity & Connection: What makes these collaborations stand out? Authenticity. Both Swift and Kelce bring authenticity to the table, creating genuine connections with their audiences. In an era where consumers crave authenticity, brands align with these influencers not just for reach, but for the credibility and resonance they bring to the table. 🌐 Brand Partnerships 2.0: It's not just about slapping a logo on a celebrity; it's about weaving brands into narratives that matter. Taylor Swift and Travis Kelce have redefined brand partnerships, showing that it's not just about visibility but about creating shared values and experiences. Take note: it's not just about who you partner with; it's about how you elevate each other. #BrandPartnerships #TaylorSwift #TravisKelce #SuperBowl #NFL https://lnkd.in/gsVPRqws
Super Bowl Sunday is upon us, and brands can't stop talking about Taylor Swift and Travis Kelce. Why is that? It's not just about their individual star power; it's about the seismic impact they've had on brand partnerships. 🎵 Taylor Swift: With an illustruous career, Taylor Swift isn't just a music icon; she's a brand powerhouse. Swift's collaborations transcend genres, creating an inclusive narrative that resonates with diverse audiences. The result? A brand magnet, contributing to an estimated $350M+ in brand value for the NFL. 🏈 Travis Kelce: Beyond the gridiron, Travis Kelce has proven that sports and style go hand in hand. His charisma and authenticity have turned him into a sought-after brand ambassador. From fashion to tech, Kelce's influence extends far beyond the field, driving epic engagement. 🚀 The Common Thread - Authenticity & Connection: What makes these collaborations stand out? Authenticity. Both Swift and Kelce bring authenticity to the table, creating genuine connections with their audiences. In an era where consumers crave authenticity, brands align with these influencers not just for reach, but for the credibility and resonance they bring to the table. 🌐 Brand Partnerships 2.0: It's not just about slapping a logo on a celebrity; it's about weaving brands into narratives that matter. Taylor Swift and Travis Kelce have redefined brand partnerships, showing that it's not just about visibility but about creating shared values and experiences. Take note: it's not just about who you partner with; it's about how you elevate each other. #BrandPartnerships #TaylorSwift #TravisKelce #SuperBowl #NFL https://lnkd.in/g-5ip7et
How to build a brand (lessons from brand building experts) Here are my top 10 learnings from a NYFW panel discussion on building your brand presented by Kensington Grey Agency Inc with brand building experts Olamide Olowe, Diarrha Ndiaye, and Dapper Dan: 1️⃣ Why Should Anyone Care? Why Should People Like It? 🎬 Imagine your brand as a movie. Would you watch it? Define your unique value to make your brand captivating. 2️⃣ Have an Excellent Product 💎 Quality is your brand's foundation. Ensure your products or services shine brightly. 3️⃣ Talk About Money 💰 Money is the language investors speak, you have to be able to talk that way. Understand your financials to connect effectively with stakeholders. 4️⃣ Community is Key 🤝 In a crowded market, how do you stand out? How do you get excitement at every level? Not just the big influencers but also think about how to get the micro influencers excited about your brand. Build a vibrant community for growth and engagement. 5️⃣ Inclusivity and Diversity 🌍 Embrace diversity to connect with a wider audience and market. 6️⃣ Mentorship and Education 📚 Seek mentorship and continuously educate yourself to navigate the challenges of building a brand successfully. 7️⃣ Collaboration Over Competition 👥 Collaborate with others in your industry rather than seeing them as competitors. 8️⃣ Stay Connected to Your Roots 🌆 Draw inspiration from your brand's origin and community. 9️⃣ Innovation and Adaptation 🚀 Innovate boldly, and be ready to pivot in changing markets. 🔟 Globalization, Culturalization, Localization 🌎 Consider how your brand can fit into a global market, adapt your culture for different audiences, and remain relevant by localizing as needed. Thank you for inviting me Kensington Grey Agency Inc. Thank you for sponsoring and supporting this event LTK (formerly rewardStyle & LIKEtoKNOW.it) Pandora L'Oréal , PATTERN Beauty , FORVR Mood , Ami Colé ,Topicals , and Lorvae. #marketing #brandmarketing #influencermarketing
Fascinating interview with Gymshark's Chief Brand Officer and a couple of key observations: 1) Keep your brand building blocks SIMPLE - Gymshark focus purely on the "We Own The Gym" space. Too many brands today try to become "everything" but in the end land up being "Masters Of None" when trying to articulate their brand story! 2) Sometimes, as an employee it pays big not to have any association with the sector or industry you're in but create it by being a CUSTOMER first and foremost! 3) Regarding Social Media strategy you don't always need to create a viral post - tap into the conversations and just follow and add to the richness to achieve success! By doing No.1 above simply it will help accelerate your Social Media growth and following (Point 3). #brand #socialmedia #marketing
Why Celebrity Brand promotions ? When it comes to celebrity brand promotions, the possibilities are endless. Leveraging the star power of well-known personalities brings a creative edge to your brand, amplifying its credibility and boosting awareness in the market. By aligning with a celebrity who resonates with your target audience, you can elevate your brand's reputation and reach new heights of visibility. These collaborations provide a unique opportunity to connect with consumers on a personal level and leave a lasting impression, setting your brand apart from the competition. Celebrity brand promotions are a powerful tool for driving success and standing out in today's competitive marketplace. #socialmedia #celebrity #branding #promotion
I embarked on a journey to explore the driving factors behind the trending phenomenon of brand partnerships. 💼💪 And let me tell you, it's fascinating! Here are the top reasons fueling this trend: 1️⃣ Authenticity: In today's crowded marketplace, consumers crave authenticity. They want to connect with brands that align with their values and beliefs. By partnering with like-minded companies, brands can create a powerful narrative that resonates with their target audience. #Authenticity #Branding 2️⃣ Amplified Reach: Brand partnerships allow companies to tap into each other's customer base, expanding their reach exponentially. By collaborating with complementary brands, businesses can access new markets, increase brand awareness, and drive more sales. It's a win-win situation! #Collaboration #Growth 3️⃣ Innovation: Two heads are better than one, right? Brand partnerships foster collaboration, sparking innovative ideas and fresh perspectives. By joining forces, companies can leverage their combined expertise to develop groundbreaking products, services, and experiences that captivate consumers. #Innovation #Creativity 4️⃣ Cultural Relevance: In our fast-paced, ever-changing world, staying relevant is crucial. Brand partnerships enable companies to tap into cultural trends and adapt to shifting consumer preferences. By collaborating with influencers, celebrities, or industry leaders, brands can stay ahead of the curve and maintain their relevance. #CulturalRelevance #Adaptation 5️⃣ Enhanced Customer Experience: Brand partnerships have the power to elevate the customer experience. By teaming up, brands can offer unique, value-added experiences that go beyond what either company could achieve individually. From exclusive collaborations to joint events, these partnerships create memorable moments for customers. #CustomerExperience #MemorableMoments #TrendingPartnerships #FactorsDrivingTrend #BrandStrategy #IndustryTrends #CollaborationGoals #BusinessPartnerships #MarketingTrends #BusinessCollaborations #GrowthDrivers
Navigating 2023's Brand Landscape: The Undying Allure of Celebrity Endorsements** Even in the digital age, the appeal of celebrity endorsements remains undiminished for many brands. A familiar face advocating for your brand boosts its credibility, as fans often view these endorsements as a genuine seal of approval. Moreover, celebrities come with a vast, engaged audience spanning digital and traditional media. Associating with them is like tapping into this reservoir, guaranteeing a broadened reach. Beyond just the visibility, there's an emotional connection. People recall moments, roles, and memories tied to these celebrities, creating a powerful emotional resonance with your brand. This connection can often be the decisive factor in a purchase decision. Furthermore, a celebrity's journey, laden with stories of ambition and triumph, can be woven seamlessly into your brand's narrative. However, the key lies in the synergy. A thoughtful, well-aligned celebrity partnership can magnify your brand's presence, making it a household name.
Celebrity/Influencer Brands From paid appearances to Owners…. Maximum Impact Associates, MIA, was my first manifestation into my entrepreneurial life after passing the Florida bar. We worked with beverage brands to executive experiential marketing campaigns in nightlife and at major events such as Art Basel, Boat Shows & South Beach Food and WIne. Curating experiences that gave brands necessary placements for consumption and bringing in celebrities to drive awareness. Then using communications to scale consumer awareness past the event itself. This was in 2006 prior to “Influencer Marketing” and the explosion of Social Media, the gatekeepers of the content were not the celebrities themselves but rather the publications in print and digital that had the reach and audience. Now that discipline has all changed and celebrities/influencers own brands and platforms due to their reach and influence on social media. 4 RULES WHEN LAUNCHING A CELEBRITY BRAND 1. AUTHENTICITY 2. FINANCIAL SKIN IN THE GAME 3. CONTRACTUALLY DEFINE ROLE 4. DON’T USE THEIR LEGAL NAME FOR THE BRAND NAME #strategicparntnerships #executivementor #businesscoach#entrepreneurship #personaldevelopmentcoach#thenewbrandbible#businessmindset #branddesign#strategicpartnerships #salesstrategy #marketingstrategy#saleschannels #marketingchannels #omnicchannelstrategy#brandgrowth #salesmilestones #salesfunnel #teambuilding#consulting #communication #publicrelations #celebritybrands #influencerbrands
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correct_spouse_00121
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FactBench
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2
| 7
|
https://www.smoothradio.com/news/entertainment/brian-mcfadden-girlfriend-daughters-sister-height/
|
en
|
Brian McFadden facts: Westlife singer's wife, children, career and more revealed
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https://imgs.smoothradio.com/images/30662?width=810&crop=16_9&signature=2CAApuS1SEYXRnd6DV6m0c_Fl7A=
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] | null |
[
"Tom Owen",
"Tom Eames"
] |
2024-05-30T12:37:28+01:00
|
Brian McFadden was one of the biggest popstars on the planet with the Westlife boys but what happened in his personal life? Wife, children and more revealed.
|
en
|
/assets_v4r/smooth/img/favicon-16x16.png
|
Smooth
|
https://www.smoothradio.com/news/entertainment/brian-mcfadden-girlfriend-daughters-sister-height/
|
Who is Brian McFadden?
Brian McFadden - Real to Me
Brian is an Irish singer, songwriter and TV presenter, who first found fame in 1999 as a member of the Irish boy band Westlife.
He quit the band in 2004, and later had a solo career for a number of years, including the UK number one 'Real to Me'.
He moved to Australia, and was a judge on Australia's Got Talent. He has since presented a number of UK shows, including Who's Doing the Dishes?.
The singer has also toured with former Boyzone singer Keith Duffy as BoyzLife.
Brian McFadden age: How old is he?
Brian was born on April 12, 1980. He celebrated his 44th birthday in 2024.
He was born in Dublin, Ireland, and was raised Catholic by his parents.
Brian's younger sister Susan is best known for playing Sandy in Grease at the Piccadilly Theatre and Elle Woods in Legally Blonde the Musical at the Savoy Theatre in London's West End. She was also a member of the all-female Celtic music group, Celtic Woman.
Brian McFadden wife and children: How big is his family?
Brian McFadden married former Atomic Kitten singer Kerry Katona in 2002.
The couple have two daughters together, Molly and Lilly Sue. They divorced in 2006.
He was then in a relationship with Australian singer and actress, Delta Goodrem, from 2004 to 2011.
Brian met Irish model Vogue Williams, in 2011, and they married in 2012 in Florence, Italy. However, the couple separated in 2015 and she is now married to Made in Chelsea star Spencer Matthews.
In late 2019, Brian announced his engagement to physical education teacher Danielle Parkinson after three years of dating.
The couple welcomed their daughter in May 2021.
|
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correct_spouse_00121
|
FactBench
|
3
| 41
|
https://spearswms.com/wealth/brian-mcfadden-net-worth/
|
en
|
Brian McFadden net worth
|
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[
""
] | null |
[
"Spear's"
] |
2016-03-17T00:09:40+00:00
|
Brian McFadden net worth Former member of boy band Westlife, singer-songwriter and TV presenter Brian McFadden has an estimated net worth of £12 million. Born on April 12,
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en
|
Spear's
|
https://spearswms.com/wealth/brian-mcfadden-net-worth/
|
Former member of boy band Westlife, singer-songwriter and TV presenter Brian McFadden has an estimated net worth of £12 million.
Born on April 12, 1980, McFadden attended the Billie Barry Stage School in Dublin. In early 1988, he formed a pop-R&B group with his friends called Cartel, and performed live gigs in Dublin pubs.
From performing in pubs to one of the world’s most famous boy bands, how did McFadden become a millionaire?
In June 1998, McFadden auditioned for Irish male band Westlife and joined the group alongside Kian Egan, Nicky Byrne, Mark Feehily and Shane Filan. He shared lead vocals with Filan and Feehily. Westlife released their first single “Swear It Again” followed by four Irish No. 1 studio albums and a No. 1 greatest hits album. They also released seventeen Irish top 5 singles including the hit single “Uptown Girl”, which peaked within the top 10 in seven European countries as well as Australia and New Zealand.
In March 2004, McFadden left the group and subsequently began a solo career and signed to record label Sony BMG. He released his debut solo single “Real to Me” in September 2004 which became his first solo No. 1 single in Britain, Ireland, Denmark and Norway. His second single and title track, “Irish Son”, peaked within the top 10 on the British and Ireland Singles Charts. Following the release of the two singles, McFadden released his first solo album, Irish Son, in November 2004 and it reached the top 5 on Irish and Danish albums charts.
The third single “Almost Here”, a duet with Australian singer Delta Goodrem, became McFadden’s second No. 1 single in Ireland as a solo artist and his first in Australia
, gaining him a a platinum accreditation there. McFadden also wrote songs for artists such as, Il Divo and Girls Aloud, as well as co-writing the theme song “Together We Are One” for the 2006 Commonwealth Games.
In March 2007, McFadden parted ways with Sony BMG. He later set up his own record label BMF Records and released his new single “Like Only a Woman Can” in Ireland. The single became his third Irish No. 1 single as a solo artist. In early 2008, McFadden signed to Universal Music Australia and released the single there in April 2008, which peaked within the ARIA top 15. McFadden released his second studio album, Set in Stone which peaked in Australia at No. 5 on the ARIA Albums Chart.
In late 2008 and 2009, McFadden presented the Summer Breakfast Show on 2Day FM. He was also co-host of FOX8’s Football Superstar in Australia. In August 2009, McFadden appeared as a guest judge on Australian Idol.
In April 2010, he released “Just Say So”, which features American rapper Kevin Rudolf. The single debuted on the ARIA Singles Chart at No. 1 and stayed there for three weeks. It spent seven weeks in the ARIA top ten and thirteen weeks in the ARIA top 50 and gained a platinum accreditation.
McFadden released his third studio album, Wall of Soundz, in Australia on 23 April 2010. It debuted at No. 27 on the ARIA Albums Chart and spent only three weeks in the ARIA top 50.
He also recorded a duet with Ronan Keating on Keating’s duet album, a cover of the Bee Gees’ “To Love Somebody”. In 2010, McFadden became one of the new judges on Australia’s Got Talent alongside Kyle Sandilands and Dannii Minogue. He was a judge from series 4-6.
McFadden released his new single “Wrap My Arms” on 20 January 2012 in Australia. The song was used in a Promo for Home and Away and peaked at 70 in the ARIA top 100.
On 13 September 2012, McFadden announced the release of his fourth studio album, The Irish Connection, featuring covers of his favourite Irish songs as well as duets with Ronan Keating and Sinéad O’Connor. McFadden joined Ronan Keating on his 2013 UK Fires Tour.
In 2013, McFadden and his former wife Vogue Williams joined the ITV dancing show Stepping Out and finished in second place.
He co-hosted the Channel 5 dating game show Stand By Your Man alongside Laura Jackson in 2014. Later that year, he began hosting daytime ITV series Who’s Doing the Dishes?, whileJanuary 2015 saw McFadden take part in celebrity talent show Get Your Act Together.
In January 2016, McFadden participated in the third series of The Jump on Channel 4.
|
|||||
correct_spouse_00121
|
FactBench
|
3
| 16
|
https://www.nowtolove.com.au/celebrity/celebrity-news/delta-goodrem-boyfriend-63914/
|
en
|
Who is Delta Goodrem's boyfriend Matthew Copley?
|
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[
"Rebecca Sullivan"
] |
2023-09-25T00:20:00+00:00
|
Delta Goodrem's boyfriend Matthew Copley is a musician just like her. Now that the pair are engaged, we look at their relationship.
|
en
|
Now To Love
|
https://www.nowtolove.com.au/celebrity/celebrity-news/delta-goodrem-boyfriend-63914/
|
When she turned 30, Delta Goodrem made a promise to herself that would never again speak publicly about her romantic relationships.
The now 38-year-old singer-songwriter, whose former partners include singers Brian McFadden and Nick Jonas, as well as tennis star Mark Philippoussis, made the call after spending more than a decade in the spotlight, first as an actress on Neighbours and later as Australia’s highest selling female artist.
“I made a conscious decision when I was 30 that I’m not somebody who wants to talk about relationships,” she told InStyle Australia in 2018.
“I made a [choice] that I’m not even going to comment ‘yes’ or ‘no’ … I’ve said nothing for three or four years — all I’ve kept saying is ‘I’m single and I’ll let you know when I’m in a serious relationship.’ And I will.”
Since 2017, Delta has been dating fellow musician Matthew Copley, though she has very rarely spoken about him publicly and the pair have never been photographed together on the red carpet or at a media event.
The couple are notoriously private, and Delta is careful in keeping media interviews focussed to her work, not her love life.
But in a recent interview with The Australian Woman’s Weekly, Delta let slip some details about her relationship with her partner of five years.
“He’s my guitarist, I met him through music,” she told The Weekly.
“It’s incredible to be on stage with him because he’s so talented. We really are a team. He’s my best friend, he’s kind and just a beautiful human being.
“But I learnt quite young that I enjoy keeping part of that private. I’ve always been so understanding that I’ve lived in the public eye since I was a teenager but also I think it’s nice to keep some things to yourself.
“I’m very lucky,” she said. “It’s all very natural and I think that comes from a beautiful respect and love. I feel so grateful.”
On September 21, 2023, Delta took to Instagram to share the exciting news that Matthew dropped down on one knee.
“My best friend asked me to marry him,” she captioned the heart warming photo (above).
|
|||||
correct_spouse_00121
|
FactBench
|
3
| 57
|
https://www.irishmirror.ie/showbiz/celebrity-news/brian-mcfadden-quit-westlife-over-23897573
|
en
|
Brian McFadden quit Westlife over moment of 'shame' - but lived to regret it
|
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[] |
[] |
[
"Brian McFadden",
"Mark Feehily",
"Kerry Katona",
"Kian Egan",
"Nicky Byrne",
"Robbie Williams",
"Westlife",
"Take That"
] | null |
[
"Frances Kindon",
"(Image: Getty Images)",
"(Image: Getty Images Europe)"
] |
2021-04-12T09:52:40+00:00
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Brian McFadden's flash point came when a record company request for Westlife made him 'lose all interest', and his four ex-bandmates have since vowed to remain a four-piece
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https://s2-prod.irishmirror.ie/@trinitymirrordigital/chameleon-branding/publications/irishmirror/img/favicon.9fcf68f9f476758c.ico
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Irish Mirror
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https://www.irishmirror.ie/showbiz/celebrity-news/brian-mcfadden-quit-westlife-over-23897573
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Westlife were at the top of their game back in 2004 and just three weeks away from hitting the road for their fourth world tour when bandmate Brian McFadden dropped a bombshell.
He was done and wanted out with immediate effect.
Announcing his departure in an emotional press conference, Brian - who turns 41 today - explained he wanted to spend more time with his Atomic Kitten star wife Kerry Katona and their two young daughters Molly and Lily.
"It's very, very hard to juggle two lives when you've got a family and being in a band like Westlife, it is a huge commitment," he explained.
"To be honest for the last year, especially since Lily was born, I haven't really been able to commit 100 per cent to Westlife and I haven't been able to commit 100 per cent to my family, so I kind of felt it was unfair to both. I felt it was the right time to stand back."
His bandmate Kian Egan choked back tears as he read out a letter written to Brian by Westlife, admitting his departure had knocked them for six.
"The last five days have been a huge strain on all of us and only us five in the room will ever understand that," he said.
"We have enjoyed so many times with you on the road, we've shared laughter, tears, success, weddings, babies and most of all we've shared our dreams.
"Although we wish very much so that things could be different, we understand and respect your decision."
They fivesome insisted there was no bad blood, and poured cold water on claims it echoed Robbie Williams' departure from Take That which was sparked by a series of rows.
However, the four remaining members feared that like Take That - who split less than a year after Robbie left - the end was nigh.
And Nicky Byrne previously told The Mirror it took a lot of healing for the band to move on and confirmed that there could never be any going back.
"I don't think that Brian would ever ask to come back to the band. But the honest answer would be that we wouldn't have him back in the group anyway," he explained.
"We all get on great with Brian but we couldn't go back to having five in the group because it was such an upheaval when he left.
"We had to re-build and start from scratch and we're a different group now. We've moved on and Brian knows that as much as we do.
"If you are asking me if we would let him re-join the group then the answer is no."
He conceded: "At the time I suppose we did all feel a bit hurt and abandoned by the whole Brian thing because we were emotional about what was happening.
"We were taking a huge step into the unknown when Brian left. I think we all felt a bit vulnerable and scared. That was probably the toughest thing we ever went through as a band but it brought us closer together.
"I think a lot of people wrote us off and thought we would be finished - like when Robbie Williams left Take That."
Meanwhile, Brian split with Kerry, embarked on a relationship with Australian singer Delta Goodrem and relocated Down Under.
And he also lifted the lid on his real reason for walking away from the band, admitting the flash point came when they were told to cover Barry Manilow's hit Mandy.
Brian told the Irish Independent: "That was definitely a turning point. I've always been very proud of Westlife, and I still think that we never got the respect we deserved, but I was f**king ashamed of that song.
"From the second we went into the studio to record it, I lost all interest."
Over the years, Brian has made several murmurings about wanting back in.
In 2015 he admitted he was kicking himself about the cash he'd missed out on, telling The Irish News: "Sometimes I think if I'd stayed another 10 years, I would have made a lot of money, but that would be the only reason for any regret."
And in 2018, Brian claimed they'd been offered a mega-bucks deal to reunite as a five-piece, but said the other four had snubbed him.
"I was offered a big multi-million pound deal. It was the other boys in Westlife who said 'no'. They didn't want me back," he told the Irish Sun.
"How does that make me feel? It makes me pretty upset because I didn't realise they still had those feelings towards me."
That same year, Kian made it clear that there was 'no feud' but explained that as far as they were concerned, Brian had been part of a band that no longer exists.
He told the Daily Mail: "It's a very simple case of Brian was a part of the band for the first five years and the band existed for eight years without him and when we got back together Westlife was a four...
"He's part of a band that doesn't exist. There's no negativity, no bad blood. There's only positivity and it's a case that the Westlife we're members of, is a four. That's it.
Mark Feehily added: "We wonder when we'll stop being asked about it because it was 15 years ago. There was never a question of Brian being involved."
|
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correct_spouse_00121
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FactBench
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https://kids.kiddle.co/Brian_McFadden
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Brian McFadden facts for kids
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Learn Brian McFadden facts for kids
|
en
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/images/wk/favicon-16x16.png
|
https://kids.kiddle.co/Brian_McFadden
|
Brian Nicholas McFadden (born 12 April 1980) is an Irish pop singer and television presenter. He rose to fame in 1998 as a member of the Irish boy band Westlife. Following his departure from the group in 2004, McFadden released his debut solo album, Irish Son. He has since released four studio albums: Set in Stone, Wall of Soundz, The Irish Connection, and Otis.
Early life
McFadden was born in Dublin and was raised Catholic. Throughout his younger years, he always had an interest in singing, dancing and football. ..... In early 1998, he formed a pop-R&B group with his friends Tim and Darragh, called Cartel, and performed live gigs in Dublin pubs. When the band passed their credentials to prominent Irish music manager Louis Walsh, McFadden was asked to come to the audition for the formation of a new band that would later be called Westlife.
Music career
1998–2004: Westlife
Main article: Westlife
In June 1998, McFadden auditioned for Irish boy band Westlife and was against another blonde Nicky Byrne and eventually both joined the group alongside Kian Egan, Mark Feehily, and Shane Filan. After joining, he changed the spelling of his name from Brian to Bryan to make it easier to sign autographs. With McFadden as part of the group, Westlife were under the music mogul Simon Cowell and released their first single, Swear It Again, which was the group's first and only single to have charted in the US in 2000, four Irish No. 1 studio albums, and a No. 1 greatest hits album. They also released seventeen Irish top 5 singles including the hit single "Uptown Girl," which peaked within the top 10 in seven European countries and also in Australia and New Zealand. In March 2004, McFadden left the group to spend more time with his family and work on solo projects. He subsequently began a solo career and decided to revert the spelling of his first name back to its original, "Brian." Before launching his solo career, he co-wrote the song "If My World Stopped Turning," which was sung by Ireland's entry Chris Doran in the Eurovision Song Contest 2004.
2004–2006: Going solo and Irish Son
Main article: Irish Son
Following his departure from Westlife, McFadden signed to major record label, Sony BMG. In September 2004, he released his debut solo single "Real to Me," which became his first solo No. 1 single in Britain, Ireland, Denmark and Norway. His second single and title track, "Irish Son," peaked within the top 10 on the British and Ireland Singles Charts. Following the release of the two singles, McFadden released his debut solo album, Irish Son, in November 2004 and it peaked within the top 10 on the Irish Albums Chart. McFadden co-wrote most of the songs on the album with Guy Chambers, best known for his successful collaboration with Robbie Williams and INXS. The third single "Almost Here," a duet with Australian singer Delta Goodrem became McFadden's second No. 1 single in Ireland as a solo artist and his first in Australia and gained a platinum accreditation there. The fourth and final single, "Demons" peaked within the top 30 on the charts in Ireland and Britain. McFadden continued writing songs for artists such as Il Divo and Girls Aloud, as well as co-writing the theme song "Together We Are One" for the 2006 Commonwealth Games. That same year, McFadden collaborated with American singer LeAnn Rimes on the song, "Everybody's Someone."
2007–2010: Label change, Set in Stone and Wall of Soundz
Main article: Set in Stone (Brian McFadden album)
While working on the second album, McFadden's record label, Sony BMG insisted that he work with an A&R man, after disappointing sales of his last album, which only sold 800,000 copies worldwide. However, there were claims that McFadden's A&R man did not want McFadden to work with Guy Chambers, who had previously worked with McFadden on his last album and fought about his songs and musical direction. His A&R man wanted him to make songs like James Morrison, Paolo Nutini, and the Scissor Sisters but McFadden insisted he make songs that are of his style. It was later revealed in March 2007 that McFadden parted ways with Sony BMG. Later that year, he set up his own record label under the name of BMF Records and released his new single "Like Only a Woman Can" in Ireland, through the label. "Like Only a Woman Can" became his third Irish No. 1 single as a solo artist. In early 2008, McFadden signed to Universal Music Australia and released the single there in April 2008, which peaked within the ARIA top 15. Following the release of "Like Only a Woman Can," McFadden released his second studio album, Set in Stone. The album peaked in Australia at No. 5 on the ARIA Albums Chart. Other singles were released from the album: "Twisted," which peaked within the top 30 on the ARIA Singles Chart and "Everything But You," which failed to chart the ARIA top 50.
Main article: Wall of Soundz
In April 2010, McFadden released "Just Say So," which features American rapper Kevin Rudolf. The single debuted on the ARIA Singles Chart at No. 1 and stayed there for three weeks. It spent seven weeks in the ARIA top ten and thirteen weeks in the ARIA top 50 and gained a platinum accreditation. Following the release of "Just Say So," McFadden released his third studio album, Wall of Soundz, in Australia on 23 April 2010. The album was originally going to be released as a side-project McFadden embarked on with American songwriter Rob Conley but both decided to release it as McFadden's third solo album. It debuted at No. 27 on the ARIA Albums Chart and spent only three weeks in the ARIA top 50. "Chemical Rush" was the second single released from the album in June 2010 and peaked at No. 12 on the charts. In September 2010, McFadden released the third single entitled "Mistakes," a duet with his then fiancée Delta Goodrem. McFadden also recorded a duet with Ronan Keating on Keating's duet album, a cover of the Bee Gees' "To Love Somebody."
2011–2015: "Just the Way You Are" and The Irish Connection
.....
In June 2011, McFadden appeared on Australian radio show The Kyle & Jackie O Show to launch both of his new singles "Come Party" and "That's How Life Goes", which was co-written by singer, songwriter and producer Ray Ruffin. Despite heavy promotion and appearances on TV shows such as Dancing with the Stars, the new singles failed to impact the charts at all, which was surprising considering his high-profile appearances on Australia's Got Talent. ..... This, as well as his much-publicized split with Delta Goodrem, appeared to have had a negative impact on his music career.
McFadden released his new single "Wrap My Arms" on 20 January 2012 in Australia. The song was used in a promo for Home and Away and it managed to peak at No. 70 on the ARIA top 100.
On 13 September 2012, McFadden announced the release of his fourth studio album, The Irish Connection, featuring covers of his favourite Irish songs as well as duets with Ronan Keating and Sinéad O'Connor. The album was recorded in both Sydney and Dublin and features none of McFadden's past five single releases, which have not appeared in an album format to date.
On 18 September 2012, Ronan Keating announced that McFadden would be joining him on his 2013 UK Fires Tour.
2016–present: Boyzlife
Boyzlife is a duo consisting of Keith Duffy and McFadden, who previously appeared as members of '90s and '00s boybands Boyzone and Westlife, respectively, hence the name. In 2020, they released their debut album, Strings Attached.
In February 2020, Keith Duffy invited John Junior, Mental Health Activist on stage with McFadden on their Boyzlife tour to share his mental health journey with their fans. Junior travels around the United Kingdom with Charlie the Duck, who accompanies him, encouraging people to speak up about mental health. Duffy is friends with Junior and supports his campaign to raise awareness for mental health.
On 19 January 2022, the duo announced the release of their second studio album, Old School, which charted poorly due to lack of promotion.
Television and radio career
In 2008, McFadden took on the role of television presenter as co-host of FOX8's Football Superstar in Australia. He reprised his role for the second season in 2009. In August 2009, McFadden appeared as a guest judge on Australian Idol.
In 2010, McFadden became one of the new judges on Australia's Got Talent replacing Red Symons alongside Kyle Sandilands who replaced Tom Burlinson and Dannii Minogue. He was a judge for three years, but was not asked back for the seventh season. In season 6, McFadden had a controversial dismissal of Owen Campbell, after a small argument where it appeared that McFadden did not understand the outlaw style genre of the contestant and persona he was portraying which may have played a part in his ratings drop which led to him leaving the show.
In late 2008, McFadden teamed up with singer Ricki-Lee Coulter and former Big Brother host Mike Goldman to present the Summer Breakfast Show on 2Day FM. In September 2009, McFadden returned to radio by co-hosting on the breakfast show on 2dayFM with Jackie O and Andrew G, replacing host Kyle Sandilands for a short period of time.
2013 saw McFadden and his wife at the time Vogue Williams come in second place on ITV dancing show Stepping Out, hosted by Davina McCall.
In 2014, McFadden co-hosted the Channel 5 dating game show Stand By Your Man alongside former Freshly Squeezed co-host Laura Jackson.
In September 2014, McFadden began hosting daytime ITV series Who's Doing the Dishes? The show returned for a second series in September 2015 and a third in September 2016 making over 90 episodes in total. In January 2015, McFadden took part in celebrity talent show Get Your Act Together. In December 2015, McFadden and Vogue Williams took part in a celebrity couples edition of Catchphrase.
In 2016, McFadden participated in the third series of The Jump on Channel 4. He was the fourth celebrity to be eliminated from the show.
In 2019, McFadden took part in the eleventh series of Dancing on Ice, alongside professional partner Alex Murphy. He finished in fourth place, after a skate-off with Saara Aalto.
Filmography
Television
Australia's Got Talent (2010–2012) – Judge
Football Superstar (2008) – Presenter
Summer Breakfast Show (2008) – Co-presenter
Australian Idol (2009) – Guest judge
Stepping Out (2013) – Contestant
Stand By Your Man (2014) – Co-presenter
Who's Doing the Dishes? (2014–2016) – Presenter
Get Your Act Together (2015) – Contestant
The Jump (2016) – Contestant
Dancing on Ice (2019) – Contestant
Guest appearances
The Chase: Celebrity Special (27 September 2014) – Contestant
Catchphrase: Celebrity Couples Special (5 December 2015) – Contestant
The Chase: Text Santa Special (18 December 2015) – Contestant
Personal life
McFadden married then-Atomic Kitten singer Kerry Katona on 5 January 2002 in Rathfeigh, County Meath, Ireland. They have two daughters. They divorced in 2006. In 2004, McFadden began dating Australian singer Delta Goodrem, with whom he collaborated on the duet "Almost Here". They were engaged but the pair ended their relationship in 2011. He married Irish model Vogue Williams in 2012 in Florence, Italy. They separated in 2015 and divorced in 2017.
In 2018, McFadden received a £450 fine and was banned from driving for six months at a Nottingham court after accruing 12 penalty points for four separate speeding offences.
In December 2019, McFadden announced his engagement to physical education teacher Danielle Parkinson on Twitter after three years of dating. McFadden announced in November 2020 that he and Parkinson were expecting. They welcomed their daughter on 16 May 2021.
Discography
Main article: Brian McFadden discography
See also: Westlife discography
Solo
Irish Son (2004)
Set in Stone (2008)
Wall of Soundz (2010)
The Irish Connection (2013)
Otis (2019)
Boyzlife
Strings Attached (2020)
Old School (2022)
Awards and nominations
APRA Awards
The APRA Awards are presented annually from 1982 by the Australasian Performing Right Association (APRA), "honouring composers and songwriters". They commenced in 1982.
Year Nominee / work Award Result Ref. 2011 "Chemical Rush" (Brian McFadden, Antonio Egizii, David Musumeci, James Maas) Dance Work of the Year Nominated
ARIA Music Awards
The ARIA Music Awards are a set of annual ceremonies presented by Australian Recording Industry Association (ARIA), which recognise excellence, innovation, and achievement across all genres of the music of Australia. They commenced in 1987.
Year Nominee / work Award Result Ref. 2010 "Just Say So" Most Popular Australian Single Nominated Brian McFadden Most Popular Australian Artist Nominated
See also
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|||||
correct_spouse_00121
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FactBench
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https://www.whosdatedwho.com/dating/brian-mcfadden
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Who is Brian McFadden dating? Brian McFadden girlfriend, wife
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22 July 2024... Brian McFadden news, gossip, photos of Brian McFadden, biography, Brian McFadden girlfriend list 2024. Relationship history. Brian McFadden relationship list. Brian McFadden dating history, 2024, 2023, list of Brian McFadden relationships.
|
//pts1.whosdatedwho.com/img/wdw/favicon.ico
|
Who's Dated Who?
|
https://www.whosdatedwho.com/dating/brian-mcfadden
| ||||||
correct_spouse_00121
|
FactBench
|
0
| 79
|
https://www.dailytelegraph.com.au/delta-may-have-to-become-a-mum/news-story/71dfb2b524cda5dbea92ed18cc04f614
|
en
|
Delta may have to become a mum
|
https://content.api.news/v3/images/bin/f08e83724ebd93ad6c784e6f9dd644bb
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https://content.api.news/v3/images/bin/f08e83724ebd93ad6c784e6f9dd644bb
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[
"fiancee Delta Goodrem",
"Children",
"Katona",
"Fadden",
"BRIAN McFadden",
"Clifford said"
] | null |
[
"David Murray"
] |
2009-08-19T02:33:01+00:00
|
BRIAN McFadden is consulting lawyers about custody of his children after his former wife was caught in a drugs sting, according to UK reports.
|
en
|
dailytelegraph
|
https://www.dailytelegraph.com.au/delta-may-have-to-become-a-mum/news-story/71dfb2b524cda5dbea92ed18cc04f614
|
BRIAN McFadden is consulting lawyers about custody of his children after his former wife was caught in a drugs sting, according to UK reports.
McFadden's ex, British reality TV star Kerry Katona, appears to take cocaine in secret video footage obtained by London's News of the World newspaper.
The pair have two children together, Molly, 7, and Lilly-Sue, 6, who were allegedly in another room when Katona snorted a white powder in her Cheshire home.
Former Westlife singer McFadden, now engaged to Delta Goodrem, has been publicly silent over the expose but a source told British papers he was "fuming''.
"He is talking to fiancee Delta Goodrem and is also consulting his lawyers to see what arrangement they can come to about his kids . . . he no longer wants them to stay with Kerry.
"He no longer feels they are safe with her.''
Publicist Max Clifford, who cut ties with Katona last year after raising concerns about her drinking, said she now faced losing her children.
"For the sake of her kids she should get a grip on herself - she has been on a downward spiral for a long time,'' Clifford said.
"Maybe this will make her evaluate and finally stand up and do what she needs to do. It is sad. We tried long and hard to help her.
"It also puts in doubt her being fit to look after the children. So Brian McFadden will be possibly be attempting to get custody, as he has done in the past.''
The former member of girl group Atomic Kitten was this week dumped from her $500,000 role promoting supermarket chain Iceland as a result of the revelations.
With ratings from her most recent reality TV shows reportedly in freefall and her popularity on the wane, the lucrative deal had been crucial to her finances.
|
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correct_spouse_00121
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FactBench
|
1
| 62
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https://metro.co.uk/2018/10/02/doi-hopeful-brian-mcfadden-and-ex-girlfriend-delta-goodrem-used-to-spit-in-each-others-mouths-for-fun-7997206/
|
en
|
DOI's Brian McFadden and Delta Goodrem 'used to spit in each other's mouths'
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[
"Katie Baillie",
"www.facebook.com"
] |
2018-10-02T00:00:00
|
A big fat nope to this one. So apparently the simplicity of Netflix and chill wasn't Delta Goodrem and Brian McFadden's cup of tea when it came to spending quality...
|
en
|
Metro
|
https://metro.co.uk/2018/10/02/doi-hopeful-brian-mcfadden-and-ex-girlfriend-delta-goodrem-used-to-spit-in-each-others-mouths-for-fun-7997206/
|
A big fat nope to this one.
So apparently the simplicity of Netflix and chill wasn’t Delta Goodrem and Brian McFadden’s cup of tea when it came to spending quality time with each other and showing affection. Instead, if they had some time to kill and wanted to show their love for one another, it’s been claimed they’d spit in each other’s mouths.
Each to their own, but still, an M&S dine in for two and a box set surely would have been more romantic.
Kyle Sandilands, host of KIIS FM, revealed the pairs alleged time-wasting game would take place at his house.
Speaking on the show after playing a song by the pair, Kyle said: ‘I remember when I’d have them around my house and they were in love and sometimes would spit in each other’s mouth.’
Co-host Jackie had the same reaction as all of us – ‘why?’. Kyle replied: ‘Fun, they said fun. I always thought, “Wow! That’s weird”.
‘Delta would sit with her mouth open and Brian would spit into her mouth and Delta would spit back into his mouth.’
Oh the visuals.
Delta and Brian, who’s just been announced as a Dancing On Ice contestant, got engaged in 2007, and went on to split in 2011.
They met in 2004 after working together on the track Almost Here.
A year after their split he was in a relationship with model Vogue Williams, whom he went on to marry, but they split in 2017.
Vogue got with Made In Chelsea’s Spencer Matthews shortly after, and the pair recently got married and had a baby.
Their son was born in early September, with Spencer announcing they are ‘truly blessed’ by his arrival.
MORE : Stormzy and Fatboy Slim first headline acts announced for Snowbombing festival to celebrate 20th anniversary
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correct_spouse_00121
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FactBench
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https://www.tiktok.com/%40katepatto_/video/7257350248241122561%3Flang%3Den
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Make Your Day
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https://www.pinterest.com/pin/brian-mcfadden-delta-goodrem--435301120213308001/
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2016-01-24T21:38:39+00:00
|
My Brian and Delta video.*I Hope You Like It!Song: All Out Of LoveArtist: Westlife featuring Delta Goodrem
|
en
|
Pinterest
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https://www.pinterest.com/pin/brian-mcfadden-delta-goodrem--435301120213308001/
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correct_spouse_00121
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FactBench
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0
| 38
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https://en.wikipedia.org/wiki/Delta_Goodrem
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en
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Delta Goodrem
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2003-08-30T23:54:16+00:00
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|
https://en.wikipedia.org/wiki/Delta_Goodrem
|
Australian singer-songwriter (born 1984)
Delta Lea Goodrem AM (born 9 November 1984) is an Australian singer, songwriter, television personality and actress. Goodrem signed a recording contract with Sony Music at the age of 15. Her debut studio album, Innocent Eyes (2003), topped the ARIA Albums Chart for 29 non-consecutive weeks. It is one of the highest-selling Australian albums and is the second-best-selling Australian album of all time with over four million copies sold.[1]
Goodrem's second studio album, Mistaken Identity (2004), was recorded while she was undergoing treatment for cancer. It became her second number-one album. In 2007, Goodrem released Delta, her third number-one album, which saw another number-one single, "In This Life". Her fourth studio album, Child of the Universe (2012), produced the single "Sitting on Top of the World". In 2016, her fifth studio album, Wings of the Wild, became her fourth number-one album on the ARIA Albums Chart, while giving her another number-one single, "Wings". Goodrem's most recent and fifth number-one studio album, Bridge over Troubled Dreams was released May 2021.
Goodrem has a total of nine number-one singles and 17 top-ten hits on the ARIA Singles Chart. She has sold over eight million albums globally and overall has won three World Music Awards, 12 ARIA Music Awards, an MTV Video Music Award and several other awards. She served as a coach on The Voice Australia from 2012 to 2013 and again from 2015 to 2020. During her one-season hiatus in 2014, she served as a coach on The Voice Kids, and coached eventual winner Alexa Curtis. She coached eventual winners of the show in season five in 2016 and again in season six in 2017, She became The Voice's senior coach in 2017 after Joel Madden's departure, serving until 2020. With the release of her Christmas studio album Only Santa Knows in 2020, since then, she hosts and performs a Christmas concert every year on the Nine Network.[2][3][4]
Goodrem was born in Sydney on 9 November 1984,[5][6] to Lea (née Parker) and Denis Goodrem.[7][8] She has a younger brother, Trent.[9]
Goodrem appeared in an American advertisement aged seven for the former toy company Galoob, alongside fellow Australian Bec Hewitt,[10] and began playing piano at the same age while taking up singing, dancing and acting lessons. She appeared in adverts for companies such as Optus and Nesquik, and had several minor roles in episodes of Australian television shows including Hey Dad..!, A Country Practice, and Police Rescue.[11]
While residing in Glenhaven, she attended the Hills Grammar School in neighbouring Kenthurst, from kindergarten until Year 11.[12]
At the age of thirteen, Goodrem recorded a five-song demo CD, financed through her television work.[13] It was sent to the Australian rules football club Sydney Swans (of which Goodrem is a supporter) and they passed it onto talent manager Glenn Wheatley.[14][15] Wheatley signed Goodrem to an artist development deal with independent record label, Empire Records.[16]
Between June 1999 and September 2000, Goodrem worked with producers Paul Higgins and Trevor Carter on thirteen tracks for an album to be called Delta.[15] A later report on these sessions described Goodrem as "an ambitious 15-year-old keen to emulate the pop sound of the Spice Girls, Britney Spears and Mandy Moore."[17] Most of the tracks were written by Carter, although Goodrem co-wrote two and self-wrote the song "Love". Goodrem did a photoshoot for the album (some of the photos have surfaced), and recorded a home-made style music video for the song "Say" which has since leaked onto the internet.[18] Higgins took the album to Village Roadshow, which offered to market and distribute the album, but the deal was blocked by Goodrem's parents. The album has yet to surface, though it became the subject of a lawsuit in 2004.[16]
At the age of 15, Goodrem signed a recording contract with Sony Music[19] and began work on an album of pop–dance songs including the unsuccessful debut single, "I Don't Care", which peaked at number sixty four on the ARIA Singles Chart in November 2001.[15] The album and proposed second single "A Year Ago Today" were pushed aside as a result, allowing Goodrem and Sony to re-evaluate her future musical direction. In 2002, Goodrem took up the role as shy school girl and aspiring singer Nina Tucker in the popular television soap opera Neighbours, which helped re-launch Goodrem's music career.[20][21] The piano-based ballad "Born to Try", co-written by Audius Mtawarira, premiered on the show and reached number one on the ARIA Singles Chart and the New Zealand singles chart, and number three in the UK. "Born to Try" was certified triple Platinum in Australia for sales of over 210,000 copies.[22] Goodrem's role on the show scored her a Logie for "Most Popular New Talent" at the Logie Awards of 2003.[23] In January 2003, "Lost Without You" topped the ARIA Singles Chart and reached number four in New Zealand and the UK. it was certified double platinum for sales over 140,000 copies in Australia.[22]
Goodrem's largely self-penned debut studio album, Innocent Eyes, was released on 24 March 2003 in Australia and debuted at number one on the ARIA Album Charts, breaking Australian records previously held by John Farnham's Whispering Jack (1986) by staying at number one for 29 consecutive weeks, while tying with Neil Diamond's Hot August Night (1972) as the second-longest charting number one album with a total of 29 weeks at top spot. It was the highest-selling album in Australia of 2003[24] and sold 1.2 million copies in Australia, and over 4 million worldwide.[25] The album also charted highly in the UK, peaking at number two. The album's third single "Innocent Eyes" again reached number one on the ARIA Singles Chart and number nine in the UK. It was certified Platinum in Australia for sales over 70,000 copies.[22]
On 8 July 2003, at the age of 18, Goodrem was diagnosed with Hodgkin lymphoma, an uncommon cancer that develops in the lymphatic system.[26] She was forced to put all working commitments on hold while undertaking treatment for the disease. In an exclusive interview with The Australian Women's Weekly, Goodrem revealed that, since 2002, she had suffered from a head-to-toe rash, fatigue, weight loss, night sweats, and a lump on her neck.[27] "I was doing sit-ups when I felt something pop in my neck. I reached down and I felt a small lump at the base of my throat. It wasn't sore, it wasn't visible, but I could feel it."[27] As part of her treatment, Goodrem undertook chemotherapy, which resulted in the loss of her hair, and radiation therapy.[27] The news of her diagnosis made newspaper and television headlines and an outpouring of support was shown by fans and the general public alike. Goodrem thanked them during The Visualise Tour for all the letters and well wishes she received.
The album's fourth single, "Not Me, Not I", was released following the announcement Goodrem had been diagnosed with cancer. It became her fourth consecutive number one single in Australia, overtaking the previous effort of three number-ones from Kylie Minogue's debut studio album, Kylie (1988).[28] It was certified Platinum for sales over 70,000 copies.[22] In early August, Goodrem announced she would not renew her contract with Glenn Wheatley. Her mother, Lea Goodrem, replaced him as her manager.[29] Later that month, Goodrem won seven ARIA Music Awards, including "Best Female Artist", surpassing Natalie Imbruglia's previous record of six awards in 1999.[30] As she was too unwell to perform at the ceremony herself, singer Darren Hayes performed a rendition of "Lost Without You" as a tribute, bringing an overwhelmed Goodrem to tears. Her first full-length DVD Delta became the highest-selling music DVD by an Australian artist in Australia ever, with a certification of 11× platinum.[31] The Australian-only release "Predictable" became her fifth consecutive number one on the ARIA Singles Chart in December and was certified double Platinum for sales of over 140,000 copies.[22]
After announcing in late December 2003 that she was in remission, Goodrem began work on her second studio album. Goodrem received two nominations at the Logie Awards of 2004 including a Gold Logie nomination for "Most Popular Personality on Australian Television".
In March 2004, while Goodrem was still undergoing cancer treatment, Paul Higgins and Trevor Carter announced plans to release the album they had recorded with the then 15-year-old Goodrem in 1999 and 2000. They shopped the album around and ignited a bidding war amongst record companies.[17] After the success of Innocent Eyes, industry experts expected that bidding for the album could attract figures anywhere between $1.5 million and $15 million.[32] When Goodrem and her family disapproved of the album's release, a lawsuit was filed. Goodrem's lawyers claimed the album was made up of unfinished demo recordings which were not fit for commercial release.[32] After much coverage in the media, the case was settled in mediation. In exchange for not releasing the album, Higgins and Carter received an unspecified payout.[15]
In September 2004, she became the face of soft drink company Pepsi in Australia, appearing on the product, billboards, TV advertisements and performing an exclusive show for competition winners.[33][34] In October Goodrem launched her own lingerie line titled "Delta by Annabella".[35]
Goodrem's second studio album, Mistaken Identity, was released in Australia on 8 November 2004 and debuted at number one on the ARIA Albums chart. It was certified five times platinum for sales of 350,000 copies.[36] The album spent 46 weeks in the top fifty. It also reached number seven in New Zealand, and peaked at number 25 in the UK. The album's lead single, "Out of the Blue", which was co-written and produced by Guy Chambers, was released prior to the album on 8 October 2004. "Out of the Blue" debuted at number one on the ARIA Singles Chart and number nine in the UK. This was Goodrem's sixth straight number-one single in Australia. It was certified platinum in Australia.[37]
The second single, "Mistaken Identity", released as a single only in Australia, debuted at number seven and was certified Gold.[38] "Almost Here", a duet with Irish singer and then boyfriend Brian McFadden of Westlife, was released as the third single and reached number three in the UK and became her seventh ARIA number one, along with her first number one in Ireland. It was certified platinum in Australia.[38] "A Little Too Late" was released only in Australia and peaked at number 13. "Be Strong" was released as the album's fifth and final single in Australia as a digital download on 17 October 2005. At the time of release, digital downloads were not included as part of the main singles chart, therefore it was ineligible to chart. Much of the album, in particular "Extraordinary Day", was inspired by her battle with cancer.[18] Reflecting on that period of her life, Goodrem said "It's weird to see pictures of that time. In some ways the fact that I was so sick was so out there, and yet I kept it really private. No-one saw me on the days I was really sick. I was 18 when I was diagnosed and I had a number one album and single in the country. And in the UK, I was number two. It was such a bipolar year".[39][40]
In March 2005, Goodrem starred in her first film role in Hating Alison Ashley, a film based on the 1984 children's novel by Robin Klein, with Goodrem acting the title character. The film performed poorly at the box office and was not a critical success, with some critics citing Goodrem's performance as too robotic and detached.[41] April 2005 saw Goodrem relocate to New York to launch her career in the United States with a reworked version of "Lost Without You". She appeared in the last two episodes of the short-lived American series North Shore in a bid to gain greater exposure. "Lost Without You" proved to be modestly successful, peaking at number eighteen on the Billboard Adult Contemporary chart, but Goodrem was reportedly dissatisfied with its performance. Plans to release a hybrid of her first two studio albums were later terminated and Goodrem put America on hold. In July, Goodrem embarked on her first headline concert tour of Australia, The Visualise Tour. Ticket prices, $99 each, came under criticism for being higher than most international acts touring Australia at the time and this initially led to slow sales.[42] By the time the tour took place, 80,000 tickets had been sold across the ten shows.[43] The Visualise Tour: Live in Concert was released in November and became Goodrem's second No. 1 DVD.
On 15 March 2006, Goodrem performed a new song, "Together We Are One", at the Commonwealth Games opening ceremony in front of 80,000 spectators and up to 1.5 billion television viewers worldwide. The song, written specifically for the event, was released in Australia, where it peaked at number two on the ARIA Singles Chart.[44] It was performed by the Top 5 contestants on season five of American Idol. In June 2006, Goodrem signed to Modest! Entertainment for her worldwide management.[45] In October 2006, Goodrem promoted in Japan with the release of an updated version of Innocent Eyes and the Japan-only single "Flawed", which reached number one on the Japanese download chart. The album peaked at number eight on the Japanese international chart (excluding Japanese artists) and number nineteen on the official Japanese album chart (including Japanese artists). In November, Goodrem appeared with Westlife on the British reality television music competition series The X Factor to perform a duet titled "All Out of Love", which appeared on the boy band's seventh studio album, The Love Album. She was in Melbourne on Christmas Eve to headline the annual Carols by Candlelight.[46]
Goodrem's third studio album, the eponymous Delta, was released in Australia on 20 October 2007. Goodrem described the material as "...a lot lighter" compared to her previous album Mistaken Identity.[47] She has also stated, "As people become more aware of your life, they can pinpoint what songs are about. On this album, I've tried to remove a lot of that and just write great pop songs, songs that are from my heart but there's no baggage with them".[48][49] The album debuted at number one on the ARIA Albums Chart, making it her third number one album in her home country.[21] and received platinum certification for shipments of 70,000 records, though sales were much lower; only 23,000 copies were sold during the first week. In December the album was certified 2× platinum.[50] It eventually was certified 3× platinum in 2008.[51] In New Zealand, the album debuted at number twelve on the RIANZ Albums Chart.[52]
On 10 August 2007, Goodrem was in Los Angeles to film the music video for the album's lead single "In This Life", which is also the opening theme for the Japanese anime television series Deltora Quest, based on the book series by fellow Australian Emily Rodda. The video premiered on 31 August on Sunrise. "In This Life" was officially released on 15 September. It debuted at number one on the Australian Singles Chart, becoming Goodrem's eighth number-one single in Australia. It was certified platinum.[53]
The second single, "Believe Again" was released on 10 December. It debuted and peaked at number two on the ARIA Singles Chart and was certified Gold.[54] The third single, "You Will Only Break My Heart", was released on 29 March 2008 and peaked at number fourteen. The fourth single to be lifted from the album was "I Can't Break It to My Heart", which debuted and peaked at number thirteen.
In 2008, Goodrem focused on promoting music in Japan and the United States. She released "In This Life" on 23 January in Japan. She followed that up by releasing "Delta" on 20 February. The album peaked at number eight on the Japanese international chart and number 39 on the overall chart. The album sold almost 5,000 copies in its first week, 1,000 copies more than her previous album in Japan and overall sold over 30,000 copies in Japan.[55] In the United States, Goodrem released "In This Life" on 15 April 2008. "In This Life" was released to US radio on 9 April. It was first released to the Triple A radio format, and then to the Adult Contemporary and Hot Adult Contemporary formats. On 17 June 2008, Goodrem appeared for the second time on any Billboard chart with the single, debuting at number 40 on the Hot Adult Top 40 Tracks chart. The song later peaked at No. 21.[56] According to Nielsen SoundScan, the track sold 7,000 digital downloads in the week ending on 24 June 2008.[57] The song also charted at number 20 on the Hot Adult Top 40 Recurrents. The album was then released on 15 July 2008 in the United States and Canada under the label Mercury Records. It peaked at number 18 on the US iTunes Store. It later debuted at number 116 on the US Billboard Album Chart and No. 1 on Billboard's Top Heatseekers with sales of 6,000 copies. Overall the album sold over 21,000 copies in the United States.[59][60]
In July 2008, Goodrem announced her second national tour of Australia, the Believe Again Tour.[61] She originally announced nine dates in seven cities, but later announced more shows, performing 14 in eight cities. The tour ran from 9 January to 4 February 2009. A concert DVD of the tour was released on 18 September 2009.[62] It peaked at number one on the Australian ARIA DVD Chart and was certified Gold for sales over 7,500 copies.[63]
Goodrem also recorded a duet, "Right Here with You", with the Olivia Newton-John to help raise money for Newton-John's cancer hospital in Melbourne.[64][65]
Goodrem was nominated for two awards at the ARIA Music Awards of 2008 – Highest Selling Single and Highest Selling Album – and won the award for Highest Selling Album of 2008.[66] At the 2008 World Music Awards, held on 9 November in Monaco, Goodrem received her third World Music Award for World's Best Selling Australian Artist. In March 2010, Goodrem and Guy Sebastian were chosen by the Jackson estate to perform at the Australian launch of Michael Jackson's This Is It DVD.[67] The invitation-only event was attended by the film's director Kenny Ortega, Jackson's choreographer Travis Payne, and Jackson's brother Jackie Jackson.[68] Goodrem and Sebastian performed "Earth Song".[69]
On 24 November 2011, Goodrem was confirmed to be a part of the judging panel of the Australian version of The Voice which aired in early 2012, coaching alongside Keith Urban, Joel Madden, and Seal.[70] Some of Goodrem's decisions on the show sparked criticism, with comments she was "all style" and "little substance".[71] Rachael Leahcar was Goodrem's contestant in the final four. This was after Goodrem chose Leahcar over Glenn Cunningham, who was Goodrem's backing vocalist on her Believe Again Tour in 2009. Leahcar finished third. Goodrem returned for season two in 2013, again with Madden and Seal, with Ricky Martin replacing Urban. Goodrem's finalist for season two was Celia Pavey who also finished third.[72]
On 30 March 2012, Goodrem announced the release of her new single, "Sitting on Top of the World".[73] The song debuted and peaked at number two on the ARIA Singles Chart and was certified double platinum. It also peaked at number twenty-three in New Zealand and was certified Gold. The album's second single, "Dancing with a Broken Heart" was released on 10 August 2012. It debuted and peaked at number 15 on the ARIA Singles Chart, and is Goodrem's second lowest charting single to date. The third single, "Wish You Were Here", was released on 12 October 2012. It debuted at number seven on the ARIA Charts and later peaked at number five, and was certified Platinum. Goodrem's fourth studio album, Child of the Universe was released on 26 October 2012, which debuted at number two on the ARIA Charts and spent ten weeks in the top 50. It was certified Gold in its second with for sales of 35,000 copies. Along with the release of the album, Goodrem embarked on her tour, "An Evening with Delta: The Top of My World Shows", which supported the album release with a series of stripped-back shows, starting in Brisbane on 27 October then two Sydney shows on 31 October 2012 and 2 November 2012 and finishing with Melbourne on 7 and 8 November 2012. Rachael Leahcar was the tour's opening act.[74] Goodrem was featured on the album The Spirit of Christmas 2012, singing "Blue Christmas". In November, she also recorded a Christmas EP titled Christmas. It was released on 14 December 2012 in Australia and New Zealand.[75][76]
On 1 February 2013, it was confirmed that Goodrem had signed with US manager Irving Azoff.[77] Goodrem performed at the Mardi Gras in Sydney in March 2013. She performed dance version of some of her songs including "Born to Try", "Lost Without You", "Predictable", "Believe Again", "Child of the Universe" and "Sitting on Top of the World".[78] In May 2013, Geoffrey Gurrumul Yunupingu joined Goodrem for a special performance of "Bayini" on The Voice Australia, in celebration of National Reconciliation Week.[79] The song was later released on iTunes and debuted at number four on the ARIA Singles Chart on 10 June 2013.[80][81] On 17 June 2013, Goodrem released her new single "Heart Hypnotic", which she also performed on the live finale of The Voice.[82]
Goodrem celebrated 10 years since releasing her multi-platinum studio album Innocent Eyes which topped the Australian ARIA Charts and reached number two on the UK Albums Chart by releasing Innocent Eyes: Ten Year Anniversary Acoustic Edition on 29 November 2013, which debuted and peaked at number 22 on the ARIA Albums Chart. On 26 November 2013, it was announced that Goodrem would not be returning to The Voice Australia for the third season in 2014 but instead chose to be a part of the new Australian version of The Voice Kids.[83] Goodrem revealed on her Twitter account that the decision was made because this would give her more time on her music career and more time to work on her new studio album. The show premiered on 22 June 2014 and finished on 10 August.[84] Goodrem was a coach alongside Joel Madden, who teamed up with his brother Benji Madden, and Mel B. Darren McMullen hosted The Voice Kids while also remaining on the original version.[85] Goodrem attended the 2014 AACTA Awards where she performed "Kissing You" in tribute to Baz Luhrmann's film Romeo + Juliet (1996).[86] Goodrem joined the Australian and New Zealand leg of Andrea Bocelli's Passion for Life Tour in September 2014.[87] To celebrate being part of the tour, Goodrem released a cover version of Martika's 1991 single "Love... Thy Will Be Done" on 12 September 2014.[88][89]
It was announced on 13 January 2015, that Goodrem was returning as a judge The Voice Australia for the show's fourth season.[90] She was reportedly paid A$2 million per season after negotiating an increase from her initial $800,000.[91] Goodrem's single "Only Human" was released on 13 March to coincide with her return as Nina Tucker for Neighbours' 30th anniversary.[92][93] She returned for three episodes starting from 16 March.[94][95] Goodrem also appeared in a documentary special celebrating the anniversary titled Neighbours 30th: The Stars Reunite, which aired in Australia and the UK.[96][97] She joined the Australian leg of Ricky Martin's One World Tour in April as his supporting act.[93][98][99] She also revealed that she has been working with DNA and Jon Hume.[100]
On 24 July 2015, Goodrem released "Wings" as the lead single from her fifth studio album Wings of the Wild. The song peaked at number one on the ARIA Charts and was certified double platinum.[101][102] Goodrem also promoted the single in New Zealand and the UK.[103] From October 2015 to February 2016, Goodrem made her musical theatre debut playing Grizabella in an Australian version of Cats. She performed the role in the Sydney, Hobart, Melbourne and Brisbane legs of the show.[104][105] "Dear Life" was released on 6 May 2016 as the second single from Wings of the Wild.[106][107] The single debuted and peaked at number three on the ARIA Singles Chart and was later certified Platinum.[102] "Enough" featuring American rapper Gizzle was released as the third single on 24 June 2016 and debuted at number forty six on the ARIA Singles Chart. It later peaked at number twenty seven in its third week on the chart.[citation needed] Wings of the Wild was released on 1 July 2016.[108][109] "The River" was later released with a story music video for the tour in September 2016, while she was in New Zealand.[110] She toured Wings of the Wild in Australia in October and November 2016.[111]
Goodrem made her return to television on the 2017 comedy drama series House Husbands.[112] In 2017, she became the V8 Supercars Australia ambassador, promoting the sport and being the official performer at the racing events throughout the year.[113][114]
In 2017, an advertisement for Apple Music featuring Goodrem was criticised by the Advertising Standards Bureau (ASB) for promoting unsafe driving. Complaints about the video to the bureau stated that it "does not promote safe driving" and features Goodrem placing her head and arms outside a moving a vehicle and "moving around in a motor vehicle with no clearly visible safety belt". In response to the complaints, Apple Inc. said that it felt "confident" that the advertisement did not breach the Australian Association of National Advertisers (AANA) Advertiser Code of Ethics standards and saw no issues relating to car safety, with both individuals in the car wearing lap seat belts. The ASB said that people may not realise that vintage cars are fitted with lap seatbelts which are not clearly seen in the video. The advertisement was pulled from screening and would not re-air until Apple re-edited it with all parts featuring Goodrem's arms and hands outside of the car window removed.[115]
On 15 February 2018, Goodrem released a single, "Think About You", which was also released for streaming and download on her website on 16 February 2018. The song was written by Goodrem in collaboration with songwriters Julian Bunetta and John Ryan. "Think About You" is described as being a "feel good, upbeat song with an irresistible catchy groove", yet is also noted for its cheeky sexualised lyrics that earned it to be called a "sexy upbeat banger" by reviewers.[116][117][118] Goodrem reinvented her look which included colouring her hair darker for this promotional video.[119]
Goodrem played Olivia Newton-John in the Newton-John biopic called Olivia Newton-John: Hopelessly Devoted to You and released a covers soundtrack album called I Honestly Love You in May 2018.[120][121][122]
Goodrem announced in December 2019 that she was "living in a music bubble", working on her sixth studio album.[123]
In January 2020, Goodrem released a charity single, "Let It Rain", in aid of the 2019–2020 bushfires in Australia. She was inspired to write "Let It Rain" after seeing the devastation from the bushfires across Australia. She teamed with Apple Music, Sony Music and iHeartRadio for the release. All proceeds went to aid with Red Cross bushfire relief.[124]
While continuing to work on The Voice, Goodrem released the singles "Keep Climbing" and "Paralyzed" and announced the Bridge Over Troubled Dreams Tour of Australia and New Zealand,[125] scheduled to begin in March 2022.[126] She had to cancel the New Zealand portion of the tour for COVID-19 related reasons on 2 March 2022.[127] Goodrem officially started the tour in March 2022 and at the Brisbane performance some of it was recorded for a Red Cross appeal (Australia Unites: Red Cross Flood Appeal)[128] It was received well and called "simply Delta Goodrem's best tour yet. She's taken elements of things she's learnt from every tour in the past, and curated a night full of euphoric highs and big singalong's for pop fans who've been longing to be inside an arena together again".[129] She then took the tour to Europe in October 2022 for sold-out shows in the UK and Germany.[130][131]
On 12 November 2020, with no prior announcement and despite teasing an album of original material, Goodrem released her sixth studio album and first Christmas album, Only Santa Knows.[132] To support the album, Goodrem announced her own Christmas special Christmas with Delta, which aired on Nine Network on 12 December.[133] She did a second show in 2021 set in Luna Park Sydney for the deluxe edition re-release of the project[134] She did a third concert with a tribute to Olivia Newton-John in 2022.[3][135]
In early December 2020, Goodrem left The Voice for a second time,[136] and in early 2021 announced the release of her seventh studio album Bridge over Troubled Dreams for May of that year, alongside an autobiographical and photographic book bearing the same name.[137] Throughout Australia's COVID-19 response, Goodrem spent most of 2020 and 2021 doing The Bunkerdown Sessions, a livestream concert series for fans through her Instagram and Facebook pages.[138][139] In December 2021, Goodrem took issue with an Instagram post by NSW Health, who later apologised, that used her image with two needles pointing at her head to personify the Delta variant in an effort to advertise the booster vaccine.[140]
In June 2022, Goodrem announced she was opening for the Backstreet Boys on the second North American leg of their DNA World Tour.[141][142] On 28 July 2022, Goodrem made a brief appearance as Nina Tucker in Neighbours: The Finale.[143]
On 24 September 2022, Goodrem joined English singer Robbie Williams who was performing at the 2022 AFL Grand Final held at the Melbourne Cricket Ground in Melbourne, Australia; the pair performed the 2000 Williams/Kylie Minogue collaboration "Kids".[144][145]
In January 2023, Goodrem announced that she was returning to Europe and the UK later that year in April and May 2023 with her "Hearts On the Run" tour, her first headlining tour there.[146][147] Shortly before starting the tour, however, she had to reschedule its dates due to overworking her voice and being put on vocal rest by her doctors to prevent vocal damage.[148][149] After making a full recovery, she did a special performance at Uluru as well as a one-week-residency in the Maldives in May 2023.[150] Later on, she embarked on the rescheduled "Hearts on the Run" tour in August and September 2023 that took place in the UK, Ireland, Scotland, Germany, France, Switzerland, Denmark, Norway and Sweden.[151][152]
On 18 July 2023, Goodrem announced her new single, "Back to Your Heart" would be released on 4 August, under her own record imprint, ATLED Records.[153] She did a 20th anniversary tour for her debut album Innocent Eyes in her home country of Australia.[154][155][156]
In around 2002, Goodrem dated fellow Neighbours cast member Blair McDonough.[157] In 2004, Goodrem began a nine-month relationship with Australian tennis player Mark Philippoussis. Her comeback single, "Out of the Blue", was written about his support during her cancer battle.[158][159] Later in 2004, Goodrem began dating former Westlife singer Brian McFadden, with whom she collaborated on the duet "Almost Here". They were engaged, but the pair ended their relationship in April 2011. Goodrem and McFadden released a joint statement stating that they wished each other the best for the future and will remain friends.[160] In May 2011, Goodrem started dating Nick Jonas of the Jonas Brothers. They broke up in February 2012.[161]
Goodrem has been in a relationship with fellow musician Matthew Copley since late 2016.[162][163] In September 2023, Goodrem and Copley announced their engagement.[164]
In February 2020, James Joseph Lafferty pleaded guilty at Downing Centre Local Court to stalking and intimidating Goodrem; including writing her over 300 poems and Instagram messages along with visiting Goodrem's apartment on Valentine's Day and the following day.[165]
On 16 August 2020, Goodrem released a six-minute video detailing the back story behind her song "Paralyzed". In the video, she revealed that after having her salivary gland removed, she faced serious complications that led to the paralysis of a nerve in her tongue, which left her having to re-learn to speak.[166]
Goodrem's repertoire falls under the pop and adult contemporary styles, and heavily features the piano, which she usually plays barefoot while performing live.[167] She is known for her soprano voice,[168][169] which in a review of Delta was described as crystalline, fierce and illuminating in quality.[170]
In 2022, Goodrem was appointed a Member of the Order of Australia (AM) in the 2022 Australia Day Honours for "significant service to the not-for-profit sector, and to the performing arts".[171] Goodrem was honoured with a wax figure at Madame Tussauds in Sydney's Darling Harbour, which opened in April 2012.[172]
Goodrem has endorsed many products such as the Wii, Sanitarium, So Good, Nesquik, Sunsilk and Pepsi.[173][174][175][176][177] She has also released an underwear range, Delta by Anabella (Briefly 2004–2006) and a self-titled perfume in April 2017, which by June that same year had sold 30,000 bottles and made $1 million in sales.[178] This was followed by fragrances "Dream" in 2018,[179][180][181] "Destiny" in 2019, "Power" in 2022 and "Power Intense" in 2023.
Her debut studio album, Innocent Eyes (2003), made her one of Australia's highest-selling female recording artists, spending 29 weeks at No. 1,[24] selling over 1.2 million copies in Australia and another 4.5 million internationally, debuting at number 2 in the UK and breaking various records in the process.[18]
In 2004, Goodrem released Mistaken Identity, her second studio album, which entered the ARIA charts at number one and spawned two number-one singles and quickly gained multi-platinum status. In 2005, Goodrem embarked on The Visualise Tour, her debut concert tour of Australia, combining songs from both Innocent Eyes and Mistaken Identity. Goodrem released her third studio album, the eponymous Delta, on 20 October 2007 to yet another number-one debut, gaining multi-platinum status within the first few months of release. Goodrem also shifted attention to different markets, releasing the album in the Far East and the US. In January 2009, Goodrem embarked on the Believe Again Tour of Australia to support her third studio album.[66] Her fourth studio album, Child of the Universe, had two platinum singles, "Sitting On Top of the World" and "Wish You Were Here". Her fifth studio album, Wings of the Wild, became her fourth number-one album on the ARIA Albums Chart, producing the number-one single "Wings" and "Dear Life"; it went platinum and peaked at number 3. Her fifth Australian number one album came in 2021 with the release of Bridge Over Troubled Dreams. Which took her total of number of weeks charting at 1 in the album charts to 33 weeks in Australia.[182]
Goodrem has a total of nine number-one singles and 17 top-ten hits on the ARIA Singles Chart.[21] She has sold over nine million albums globally.[183]
Goodrem is a long-standing supporter of various charities and foundations, serving as patron of The Kinghorn Cancer Centre, Sydney (a joint venture between St Vincent's Hospital and the Garvan Institute of Medical Research) and an ambassador for Starlight Children's Foundation, Make-A-Wish Foundation and Sony Foundation Australia.[184]
In May 2005, Goodrem helped launch "Teen Info on Cancer", a UK website aimed at supporting young teenage sufferers.[185] In November 2005, Goodrem became an ambassador for Research Australia's "Thank You Day", which honours the country's health and medical researchers and received a Thank You Day Celebrity Advocacy Award "in recognition of her efforts in raising funds and awareness for Australian medical research and charities".[186][187]
In 2007 Goodrem was the face of Alternative Hair, in aid of cancer charity Leukaemia Research.[188] Goodrem is also a member of RADD (Recording Artists, Actors And Athletes Against Drink Driving), a group of celebrities raising awareness of the risks of drunk driving.[189] In 2011, Goodrem became an ambassador for The Kinghorn Cancer Centre, Sydney.[190][191]
On 27 October 2017, she was featured on a cover of the Beatles' "With a Little Help from My Friends", to raise money for the Sony Foundation's project Friends4Youth.
In 2020, Goodrem released a charity single titled "Let It Rain", and also performed as part of three major charity concerts, Fire Fight Australia to raise funds for the 2019–2020 Australia bushfire crisis, as well as One World: Together at Home and Music from the Home Front to raise money in support of the COVID-19 pandemic. In October of the same year, Goodrem participated in the 20th year of Ralph Lauren's Pink Pony campaign to raise money for cancer care and research.[192] In the same month, Goodrem partnered with Remembering Wildlife to help raise funds for cheetah conservation efforts.[193]
In June 2020, Goodrem launched the Delta Goodrem Foundation in partnership with St. Vincent's Hospital and The Kinghorn Cancer Centre. The foundation aims to raise funds for the acceleration of innovative blood cancer research.[194][195] In July 2022, the Delta Goodrem Foundation partnered with Revlon in donating portions of lipstick sales to cancer charity Look Good Feel Better.[196]
Main article: Delta Goodrem discography
Studio albums:
Innocent Eyes (2003)
Mistaken Identity (2004)
Delta (2007)
Child of the Universe (2012)
Wings of the Wild (2016)
Only Santa Knows (2020)
Bridge over Troubled Dreams (2021)
Headlining tours:
The Visualise Tour (2005)
Believe Again Tour (2009)
An Evening with Delta: The Top of My World Shows (2012)
Wings of the Wild Tour (2016)
Bridge over Troubled Dreams Tour (2022)
Hearts on the Run Tour (2023)
Innocent Eyes 20th Anniversary Tour (2023)
List of appearances in film and television Year Title Role Notes 1993 Hey Dad..! Cynthia Broadhurst Guest role; "The Real Ladies Man" A Country Practice Georgina Bailey Guest role; "Little Lies, Part 1" and "Little Lies, Part 2" 1995 Police Rescue Sophie Harris Guest role; "Conduct Endangering Life" 2002–2005, 2015, 2022 Neighbours Nina Tucker Regular role; 144 episodes 2003 Skithouse Herself Guest appearance 2003 Live @ Channel V Herself Guest Performance 2005 Hating Alison Ashley Alison Ashley Main role North Shore Taylor Ward Guest role; "The Ex-Games" and "The End" 2008 Backyard Blitz Herself Guest appearance 2009 Australian Idol Herself Guest judge 2011 Santa's Apprentice Little Beatrice Voice role 2012–2013, 2015–2020 The Voice Herself Coach/Performer 2012 Take Two with Phineas And Ferb Herself Guest interviewee 2014 The Voice Kids Herself Coach/Performer 2015 Neighbours 30th: The Stars Reunite Herself Documentary 2016 Who Do You Think You Are? Herself Documentary Play School Herself Guest presenter 2017 House Husbands Izzy Dreyfus 3 episodes, season 5 2018 Olivia: Hopelessly Devoted to You Olivia Newton-John Miniseries 2020 Fire Fight Australia Herself Performer Together at Home Herself Performer Music from the Home Front Herself Co-host and performer 2020 ARIA Music Awards Herself Host 2021 Australia Day Live 2021 Herself Performer The Celebrity Apprentice Australia Herself Guest appearance The Block Herself Guest appearance 2022 Australia Day Live 2022 Herself Co-host and performer Hey Hey, It's 100 Years Herself Guest appearance Luxe Listings Sydney Herself Guest appearance Lego Masters Australia Herself Guest appearance 2020–2023 Christmas with Delta Herself Host and performer 2023 Isle of MTV Featured performer Back to Your Heart, global premiere 2023 Love is in the Air Dana Randall Film, Main role 2024 Australian Idol Herself Performance of „Hearts on the Run“
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FactBench
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0
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https://www.9news.com.au/entertainment/mcfadden-hooks-up-with-new-girl/c3cf14dd-fe4f-48b4-96b7-cec046250215
|
en
|
McFadden 'hooks up' with new girl
|
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[
""
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[
"9News"
] |
2011-05-28T02:30:00+00:00
|
Pop star Brian McFadden has reportedly hooked up with a new girlfriend just a week after his ex-fiance Delt...
|
/assets/img/favicon.6c717b9f.svg
|
https://www.9news.com.au/entertainment/mcfadden-hooks-up-with-new-girl/c3cf14dd-fe4f-48b4-96b7-cec046250215
|
Pop star Brian McFadden has reportedly hooked up with a new girlfriend just a week after his ex-fiance Delta Goodrem was photographed holding hands with a famous US singer.
The Australia's Got Talent judge reportedly arranged for Irish DJ Vogue Williams to fly to Australia last weekend, the Sunday Telegraph reports.
McFadden is reported to have hooked up with Williams at a bar opening in Ireland last month after his split with Goodrem was made public.
An Irish source told the newspaper the couple was "head over heels for each other".
On Monday Williams revealed she had gone abroad, tweeting "I'm not in Dublin" on her Twitter page.
A day earlier she complained about being fined for having too much luggage.
"180excess baggage, great start to my holiday!!!" she tweeted.
McFadden is said to have taken Williams to dinner at an Italian restaurant in North Bondi last night before going to Kings Cross club the Piano Room, which is co-owned by friend Kyle Sandilands and Kings Cross identity John Ibrahim.
During the week they were also seen holding hands around Sydney.
Only two weeks ago McFadden's partner of six years Goodrem, 26, was seen leaving a Hollywood cinema with Jonas Brothers star Nick Jonas, 18 (Read More: Delta snapped getting cosy with Jonas brother).
Afterwards McFadden said Delta had told him she was stepping out with the teen singer and that he did not mind.
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FactBench
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https://www.tiktok.com/discover/brian-mcfadden-delta-goodrem-mistakes
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en
|
Make Your Day
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[] |
[] |
[
""
] | null |
[] | null |
en
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correct_spouse_00121
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FactBench
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https://forum.popjustice.com/threads/brian-mcfadden-and-delta-goodrem-mistakes.18140/
|
en
|
Brian McFadden and Delta Goodrem - Mistakes
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"Knightr634"
] |
2010-04-12T10:14:23+00:00
|
http://www.youtube.com/watch?v=ddSfNfOTq8I&feature=player_embedded
YAH! Pretty good song. Very radio friendly and I think there's talk of it being the 2nd...
|
en
|
/data/assets/logo/newforumlogo192.png
|
The Popjustice Forum
|
https://forum.popjustice.com/threads/brian-mcfadden-and-delta-goodrem-mistakes.18140/
|
http://www.youtube.com/watch?v=ddSfNfOTq8I&feature=player_embedded
YAH! Pretty good song. Very radio friendly and I think there's talk of it being the 2nd single from Brian's Wall Of Soundz album.
The album is out to download on Itunes worldwide from 23rd April. I would love this to enter the UK charts - i know thats not gonna happen. But it would just be amazing if it did
Is it wrong that I have facebooked this everyone I know with the Itunes release date? Did i mention worldwide? So UK, Ireland, the rest of Europe and America can download this too!!!
Excited!!!
Sorry, usually I have to import Delta's stuff so to be able to download something knowing its making a contribution here, makes me feel all giddy!
Haha, I know what you mean.
I'd love to get the album physically but I'm going to download it anyway to show my support. Poor Brian, people really don't like him. But this album is very, very good.
I don't think people hate him actually. Maybe people on here, but if he was to release his new stuff here - here's hoping - I think it would do pretty well.
Brian didn't release his 2nd album in the UK - but he did release Like Only A Woman Can in Ireland and that went straight to #1 - think it stayed there for a couple of weeks as well.
I think the hate has died down now that everyone hates Kerry Katona instead... I tihnk that releasing a song all about how he loved the normal, family life then leaving his wife about a fortnight later made him seem a bit ridiculous, but that's a long time ago now.
I don't think this is terribly special, Delta's done much better (I don't follow Bri(y)an)
Maureen said:
There is another link to it if you search.
Yes, it is a good song. Really good. Do people hate Brian in particular or do they just not care about his records?
Anyway, well done Bryiyiyian.
I don't think he's half as hated in the UK as this board would lead you to believe.
This song is really good actually, and I can see it being huge on the radio over here. However, it sounds literally nothing like the first single he's releasing from Wall of Soundz. Not that I really care, just a bit odd. I have no idea what the concept is for that album anyway as I'm not a big fan. I presume it's a mixed bag of genres or something?
Um no, there is no other video online at the moment. I found it here though:
http://www.nhaccuatui.com/nghe?M=RLXGN4gKzx
It should start playing after a few seconds. Liking the song quite much, but I wish Delta would release new music instead of Brian! He comes across so... unwashed. (And Just say so is awful, btw.)
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correct_spouse_00121
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FactBench
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https://www.tiktok.com/discover/brian-mcfadden-delta-goodrem-mistakes
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en
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Make Your Day
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[] |
[
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|
https://www.heart.co.uk/showbiz/celebrities/brian-mcfadden-wives-girlfriends-relationships/
|
en
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Brian McFadden's wives and girlfriends: his relationship history revealed
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https://imgs.heart.co.uk/images/31350?width=1200&crop=16_9&signature=JrveSS45ep77OVVSmkHOSvCV3d8=
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https://imgs.heart.co.uk/images/31350?width=1200&crop=16_9&signature=JrveSS45ep77OVVSmkHOSvCV3d8=
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[
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] | null |
[
"Heart",
"Claire Blackmore"
] |
2019-01-06T18:27:23+00:00
|
From the breakdown of his marriages to Kerry Katona and Vogue Williams, to girlfriends Delta Goodrem and Danielle Parkinson.
|
en
|
/assets_v4r/heart/img/favicon-16x16.png
|
Heart
|
https://www.heart.co.uk/showbiz/celebrities/brian-mcfadden-wives-girlfriends-relationships/
|
From the breakdown of his marriages to Kerry Katona and Vogue Williams, to girlfriends Delta Goodrem and Danielle Parkinson
Brian McFadden has had a colourful love life.
The former Westlife singer has been divorced twice, engaged once, and is currently in a relationship with the woman who ex-wife Kerry and their two daughters Molly, 17, and Lily-Sue, 15, want him to marry.
Here, we look back at the 38-year-old’s rollercoaster relationship ride, from the breakdown of both his marriages to his current girlfriend, Danielle Parkinson.
Kerry Katona
Brian first met Atomic Kitten star Kerry Katona in 1999. They dated for three years then tied the knot in County Meath, Ireland, back in 2002.
The couple went on to have two children, Molly in 2001 and Lily-Sue in 2003, but their relationship sadly collapsed and they filed for divorce in 2004, which was finalised in 2006.
Brian told Reveal magazine: “The day my marriage ended was on the stag night (when Brian reportedly cheated on Kerry). That was the time I felt 'this is not supposed to be'.”
However the father-of-two remains on good terms with the mother of his daughters.
"We had a really good phone conversation not long ago where we were properly giggling," said the Dancing on Ice 2019 contestant.
"If I picked up the phone, he’d be there for me," she added.
Delta Goodrem
Following his split from Kerry Katona, Brian began dating Australian singer and Neighbours actress Delta Goodrem.
Romance blossomed and at one point Brain even proposed, but in 2011 their the seven year relationship collapsed.
"This decision has been made with a lot of soul searching from both parties with the realisation that they have grown apart," read a statement at the time.
Vogue Williams
Brian’s second marriage was to Irish model Vogue Williams.
They tied the knot back in 2012 but the father-of-two announced the couple's shock split in a statement on social media.
"It is with sadness that Vogue and I have made the tough decision to go our separate ways.
"We will always care greatly about each other, remain friends and wish each other all the very best for the future.
"We have nothing else to say on the subject and we would like to thank our friends and family for their support during this difficult period. Brian x,” wrote the Westlife singer.
Vogue got custody of their dog, Winston.
Danielle Parkinson
Brian is currently dating 38-year-old PE teacher, Danielle Parkinson.
According to reports, he has fallen head over heels for his Manchester-born girlfriend.
The couple were first spotted kissing at a golf event in 2016 and continue to be pictured together on social media.
Even ex-wife Kerry approves, telling OK!: "Molly and Lilly weren’t as close to Delta or Vogue but they are desperate for Brian to marry Danielle.
"I might even get invited to this wedding. Danielle is an absolute diamond.”
|
||
correct_spouse_00121
|
FactBench
|
0
| 75
|
https://www.wikiwand.com/en/Brian_McFadden
|
en
|
Brian McFadden
|
[
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] |
[] |
[] |
[
""
] | null |
[] | null |
Brian Nicholas McFadden is an Irish pop singer and television presenter. He rose to fame in 1998 as a member of the Irish boy band Westlife. Following his departure from the group in 2004, McFadden released his debut solo album, Irish Son. He has since released four studio albums: Set in Stone, Wall of Soundz, The Irish Connection, and Otis.
|
en
|
Wikiwand
|
https://www.wikiwand.com/en/Brian_McFadden
|
Irish singer (born 1980) / From Wikipedia, the free encyclopedia
Dear Wikiwand AI, let's keep it short by simply answering these key questions:
Can you list the top facts and stats about Brian McFadden?
Summarize this article for a 10 year old
SHOW ALL QUESTIONS
|
|||||
correct_spouse_00121
|
FactBench
|
2
| 83
|
https://aussiedollars.wordpress.com/2011/03/04/brian-mcfadden-step-away-from-the-tweets/
|
en
|
Brian McFadden – step away from the tweets!!
|
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[] |
2011-03-04T00:00:00
|
My favourite news story of the week down under, concerns our ex-Westlife friend Brian McFadden. Brian's actually been something of a favourite over here in recent years - he's dating the nation's sweetheart Delta Goodrem, has had his singles top the Australian charts (yes, really), and is even a host on Australia's Got Talent. But…
|
en
|
https://secure.gravatar.com/blavatar/e3933c61d0344570cf248ee37c467c98e4a40615a94b1843e5b4282de248cf51?s=32
|
aussiedollars
|
https://aussiedollars.wordpress.com/2011/03/04/brian-mcfadden-step-away-from-the-tweets/
|
My favourite news story of the week down under, concerns our ex-Westlife friend Brian McFadden.
Brian’s actually been something of a favourite over here in recent years – he’s dating the nation’s sweetheart Delta Goodrem, has had his singles top the Australian charts (yes, really), and is even a host on Australia’s Got Talent.
But finally, sense has prevailed and the Australians are seeing Brian in a more realistic light. His latest single ‘Just the way you are (drunk at the bar)’ has caused huge controversy when listeners to the song suggested the lyrics were encouraging date rape.
In his typical classy style, Brian tried to defend himself on twitter. Unable to see a way out and in a series of cringeworthy tweets he announced that he didn’t want his song played on the radio and he would instead donate all proceeds to charity.
Putting the lyrics of song aside (because I couldn’t face putting myself through a listen), it’s not the first time Brian’s taken to twitter to defend himself. Last year, he let a feud with his ex-wife spill onto his tweets, and he has also stated he doesn’t want ‘ugly followers’ to his twitter site.
Time and time again, Brian actually creates the news story himself by engaging in a debate which should otherwise have been managed through a timely and considered press statement. Not ad-hoc, reactive and rash thought-streams.
Twitter seems to have opened a channel of communication to celebrities, where before a publicist, a manager or an agent would stand between them and the general public. In some respects, it is quite refreshing to hear a personal view, rather than the same rehearsed spin from a press office. But, when reputations begin to be damaged and sales start to fall, these people will find they have the same responsibilities to their job as the rest of us and will have to face up to their employers as their careers start to fall apart.
Celebrities need to realise the power of twitter, but also the responsibility that comes with using it as a tool to communicate. Brian McFadden may be hitting the news this week, but he is just one of many celebrities and sporting stars who have found out the hard way that whilst twitter might help raise a profile, in the wrong hands it can potentially ruin it too.
|
||||
correct_spouse_00121
|
FactBench
|
0
| 22
|
https://www.news.com.au/entertainment/celebrity-life/hook-ups-break-ups/kyle-sandilands-wild-claim-about-delta-goodrem/news-story/c8463857dc5771cb5a8f4b38a67101e1
|
en
|
Kyle Sandilands’ wild claim about Delta Goodrem
|
https://content.api.news/v3/images/bin/efeeabe1b0173494fe04017e441cd7e4
|
https://content.api.news/v3/images/bin/efeeabe1b0173494fe04017e441cd7e4
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[] |
[] |
[
"sex life",
"Joshua Haigh",
"conscious decision",
"joint statement",
"Atomic Kitten",
"hiy single",
"lounge room",
"Travis Barker",
"Brian McFadden",
"doco probes shock",
"Kyle Sandilands",
"Kerry Katona",
"Natalie Imbruglia",
"Delta Goodrem",
"Matthew Copley",
"Jon Stevens"
] | null |
[
"Joshua Haigh"
] |
2024-04-29T04:46:00+00:00
|
Kyle Sandilands made a wild claim about Delta Goodrem on Monday’s The Kyle and Jackie O Show.
|
en
|
news
|
https://www.news.com.au/entertainment/celebrity-life/hook-ups-break-ups/kyle-sandilands-wild-claim-about-delta-goodrem/news-story/c8463857dc5771cb5a8f4b38a67101e1
|
Kyle Sandilands made a wild claim about Delta Goodrem on Monday’s The Kyle and Jackie O Show.
During a discussion about his co-star’s sex life, Sandilands brought up his pal Goodrem, and alleged that he’d once seen the singer engage in a wild act with her ex-husband, Brian McFadden.
Sandilands claimed that he once saw the couple “spit” into each other’s mouths at his home while they were dating.
“They’d just spit in each other’s mouths and giggle,” he claimed. “I was like … ‘you’re in my lounge room what’s going on here’ … it was like Travis Barker and that old Kardashian.”
news.com.au has reached out to Goodrem for comment.
Goodrem began dating former Westlife singer Brian McFadden after her split from former tennis player Mark Philippoussis – and it was arguably her most public relationship to date.
The pair – who collaborated on the hit single Almost Here – dated for seven years and even got engaged during that time.
Their relationship was not without controversy as when they first started dating, the Irish singer had only just broken up with Kerry Katona, his wife and mother of their two children, who was much loved in the UK for being in the girl group Atomic Kitten.
Many fans believed there may have been an overlap between the end of his marriage and his relationship with Goodrem, who was painted as a “homewrecker” in the UK tabloids.
They split in 2011 and released this joint statement: “This decision has been made with a lot of soul searching from both parties with the realisation that they have grown apart.”
In a later interview with Vogue, Goodrem touched on their doomed romance.
“There is so much I’d like to say. I was really unhappy and I didn’t know how to get out. I learnt. I got there in the end,” she said.
Goodrem is now happily dating musician Matthew Copley and the pair are engaged to be married.
“I made a conscious decision when I was 30 that I’m not somebody who wants to talk about relationships,” she told InStyle Australia in 2018.
“I made a [choice] that I’m not even going to comment ‘yes’ or ‘no’ … I’ve said nothing for three or four years — all I’ve kept saying is ‘I’m single and I’ll let you know when I’m in a serious relationship.’ And I will.”
|
|||
correct_spouse_00121
|
FactBench
|
3
| 2
|
https://www.independent.ie/style/celebrity/celebrity-news/brian-mcfaddens-ex-delta-goodrem-opens-up-about-love-life-ive-had-a-few-duds/31401039.html
|
en
|
Brian McFadden's ex Delta Goodrem opens up about love life: 'I've had a few duds'
|
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"Caitlin McBride"
] |
2015-07-24T12:25:38+02:00
|
Australian singer Delta Goodrem has opened up about her past romantic life, saying she's had "a few duds".
|
en
|
Irish Independent
|
https://www.independent.ie/style/celebrity/celebrity-news/brian-mcfaddens-ex-delta-goodrem-opens-up-about-love-life-ive-had-a-few-duds/31401039.html
|
The blonde beauty, who is currently a coach on The Voice Australia, was engaged to Brian McFadden for seven years before the pair split in 2011. She was also linked to Nick Jonas and Guy Sebastian.
Delta had a heart to heart with one of the contestants on the show, who, after singing Chris Isaac's Wicked Games, said she was inspired by past heartbreak, to which the judge replied: "I mean, in front of the whole country, I've had a few duds."
"You know the best things about duds? They make number one hits for you!"
Read more:
While Delta rarely speaks about her time with her ex-love, she spoke candidly about her break-up with the father-of-two in 2012, a year after they split.
"There is so much I’d like to say. I was really unhappy and I didn’t know how to get out," she told Vogue Australia.
"I learned. I got there in the end."
She also penned a song I Lost All Love 4 U, which many speculated was inspired by her split with her long-term love.
|
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correct_spouse_00121
|
FactBench
|
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https://kids.kiddle.co/Brian_McFadden
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en
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Brian McFadden facts for kids
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Learn Brian McFadden facts for kids
|
en
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/images/wk/favicon-16x16.png
|
https://kids.kiddle.co/Brian_McFadden
|
Brian Nicholas McFadden (born 12 April 1980) is an Irish pop singer and television presenter. He rose to fame in 1998 as a member of the Irish boy band Westlife. Following his departure from the group in 2004, McFadden released his debut solo album, Irish Son. He has since released four studio albums: Set in Stone, Wall of Soundz, The Irish Connection, and Otis.
Early life
McFadden was born in Dublin and was raised Catholic. Throughout his younger years, he always had an interest in singing, dancing and football. ..... In early 1998, he formed a pop-R&B group with his friends Tim and Darragh, called Cartel, and performed live gigs in Dublin pubs. When the band passed their credentials to prominent Irish music manager Louis Walsh, McFadden was asked to come to the audition for the formation of a new band that would later be called Westlife.
Music career
1998–2004: Westlife
Main article: Westlife
In June 1998, McFadden auditioned for Irish boy band Westlife and was against another blonde Nicky Byrne and eventually both joined the group alongside Kian Egan, Mark Feehily, and Shane Filan. After joining, he changed the spelling of his name from Brian to Bryan to make it easier to sign autographs. With McFadden as part of the group, Westlife were under the music mogul Simon Cowell and released their first single, Swear It Again, which was the group's first and only single to have charted in the US in 2000, four Irish No. 1 studio albums, and a No. 1 greatest hits album. They also released seventeen Irish top 5 singles including the hit single "Uptown Girl," which peaked within the top 10 in seven European countries and also in Australia and New Zealand. In March 2004, McFadden left the group to spend more time with his family and work on solo projects. He subsequently began a solo career and decided to revert the spelling of his first name back to its original, "Brian." Before launching his solo career, he co-wrote the song "If My World Stopped Turning," which was sung by Ireland's entry Chris Doran in the Eurovision Song Contest 2004.
2004–2006: Going solo and Irish Son
Main article: Irish Son
Following his departure from Westlife, McFadden signed to major record label, Sony BMG. In September 2004, he released his debut solo single "Real to Me," which became his first solo No. 1 single in Britain, Ireland, Denmark and Norway. His second single and title track, "Irish Son," peaked within the top 10 on the British and Ireland Singles Charts. Following the release of the two singles, McFadden released his debut solo album, Irish Son, in November 2004 and it peaked within the top 10 on the Irish Albums Chart. McFadden co-wrote most of the songs on the album with Guy Chambers, best known for his successful collaboration with Robbie Williams and INXS. The third single "Almost Here," a duet with Australian singer Delta Goodrem became McFadden's second No. 1 single in Ireland as a solo artist and his first in Australia and gained a platinum accreditation there. The fourth and final single, "Demons" peaked within the top 30 on the charts in Ireland and Britain. McFadden continued writing songs for artists such as Il Divo and Girls Aloud, as well as co-writing the theme song "Together We Are One" for the 2006 Commonwealth Games. That same year, McFadden collaborated with American singer LeAnn Rimes on the song, "Everybody's Someone."
2007–2010: Label change, Set in Stone and Wall of Soundz
Main article: Set in Stone (Brian McFadden album)
While working on the second album, McFadden's record label, Sony BMG insisted that he work with an A&R man, after disappointing sales of his last album, which only sold 800,000 copies worldwide. However, there were claims that McFadden's A&R man did not want McFadden to work with Guy Chambers, who had previously worked with McFadden on his last album and fought about his songs and musical direction. His A&R man wanted him to make songs like James Morrison, Paolo Nutini, and the Scissor Sisters but McFadden insisted he make songs that are of his style. It was later revealed in March 2007 that McFadden parted ways with Sony BMG. Later that year, he set up his own record label under the name of BMF Records and released his new single "Like Only a Woman Can" in Ireland, through the label. "Like Only a Woman Can" became his third Irish No. 1 single as a solo artist. In early 2008, McFadden signed to Universal Music Australia and released the single there in April 2008, which peaked within the ARIA top 15. Following the release of "Like Only a Woman Can," McFadden released his second studio album, Set in Stone. The album peaked in Australia at No. 5 on the ARIA Albums Chart. Other singles were released from the album: "Twisted," which peaked within the top 30 on the ARIA Singles Chart and "Everything But You," which failed to chart the ARIA top 50.
Main article: Wall of Soundz
In April 2010, McFadden released "Just Say So," which features American rapper Kevin Rudolf. The single debuted on the ARIA Singles Chart at No. 1 and stayed there for three weeks. It spent seven weeks in the ARIA top ten and thirteen weeks in the ARIA top 50 and gained a platinum accreditation. Following the release of "Just Say So," McFadden released his third studio album, Wall of Soundz, in Australia on 23 April 2010. The album was originally going to be released as a side-project McFadden embarked on with American songwriter Rob Conley but both decided to release it as McFadden's third solo album. It debuted at No. 27 on the ARIA Albums Chart and spent only three weeks in the ARIA top 50. "Chemical Rush" was the second single released from the album in June 2010 and peaked at No. 12 on the charts. In September 2010, McFadden released the third single entitled "Mistakes," a duet with his then fiancée Delta Goodrem. McFadden also recorded a duet with Ronan Keating on Keating's duet album, a cover of the Bee Gees' "To Love Somebody."
2011–2015: "Just the Way You Are" and The Irish Connection
.....
In June 2011, McFadden appeared on Australian radio show The Kyle & Jackie O Show to launch both of his new singles "Come Party" and "That's How Life Goes", which was co-written by singer, songwriter and producer Ray Ruffin. Despite heavy promotion and appearances on TV shows such as Dancing with the Stars, the new singles failed to impact the charts at all, which was surprising considering his high-profile appearances on Australia's Got Talent. ..... This, as well as his much-publicized split with Delta Goodrem, appeared to have had a negative impact on his music career.
McFadden released his new single "Wrap My Arms" on 20 January 2012 in Australia. The song was used in a promo for Home and Away and it managed to peak at No. 70 on the ARIA top 100.
On 13 September 2012, McFadden announced the release of his fourth studio album, The Irish Connection, featuring covers of his favourite Irish songs as well as duets with Ronan Keating and Sinéad O'Connor. The album was recorded in both Sydney and Dublin and features none of McFadden's past five single releases, which have not appeared in an album format to date.
On 18 September 2012, Ronan Keating announced that McFadden would be joining him on his 2013 UK Fires Tour.
2016–present: Boyzlife
Boyzlife is a duo consisting of Keith Duffy and McFadden, who previously appeared as members of '90s and '00s boybands Boyzone and Westlife, respectively, hence the name. In 2020, they released their debut album, Strings Attached.
In February 2020, Keith Duffy invited John Junior, Mental Health Activist on stage with McFadden on their Boyzlife tour to share his mental health journey with their fans. Junior travels around the United Kingdom with Charlie the Duck, who accompanies him, encouraging people to speak up about mental health. Duffy is friends with Junior and supports his campaign to raise awareness for mental health.
On 19 January 2022, the duo announced the release of their second studio album, Old School, which charted poorly due to lack of promotion.
Television and radio career
In 2008, McFadden took on the role of television presenter as co-host of FOX8's Football Superstar in Australia. He reprised his role for the second season in 2009. In August 2009, McFadden appeared as a guest judge on Australian Idol.
In 2010, McFadden became one of the new judges on Australia's Got Talent replacing Red Symons alongside Kyle Sandilands who replaced Tom Burlinson and Dannii Minogue. He was a judge for three years, but was not asked back for the seventh season. In season 6, McFadden had a controversial dismissal of Owen Campbell, after a small argument where it appeared that McFadden did not understand the outlaw style genre of the contestant and persona he was portraying which may have played a part in his ratings drop which led to him leaving the show.
In late 2008, McFadden teamed up with singer Ricki-Lee Coulter and former Big Brother host Mike Goldman to present the Summer Breakfast Show on 2Day FM. In September 2009, McFadden returned to radio by co-hosting on the breakfast show on 2dayFM with Jackie O and Andrew G, replacing host Kyle Sandilands for a short period of time.
2013 saw McFadden and his wife at the time Vogue Williams come in second place on ITV dancing show Stepping Out, hosted by Davina McCall.
In 2014, McFadden co-hosted the Channel 5 dating game show Stand By Your Man alongside former Freshly Squeezed co-host Laura Jackson.
In September 2014, McFadden began hosting daytime ITV series Who's Doing the Dishes? The show returned for a second series in September 2015 and a third in September 2016 making over 90 episodes in total. In January 2015, McFadden took part in celebrity talent show Get Your Act Together. In December 2015, McFadden and Vogue Williams took part in a celebrity couples edition of Catchphrase.
In 2016, McFadden participated in the third series of The Jump on Channel 4. He was the fourth celebrity to be eliminated from the show.
In 2019, McFadden took part in the eleventh series of Dancing on Ice, alongside professional partner Alex Murphy. He finished in fourth place, after a skate-off with Saara Aalto.
Filmography
Television
Australia's Got Talent (2010–2012) – Judge
Football Superstar (2008) – Presenter
Summer Breakfast Show (2008) – Co-presenter
Australian Idol (2009) – Guest judge
Stepping Out (2013) – Contestant
Stand By Your Man (2014) – Co-presenter
Who's Doing the Dishes? (2014–2016) – Presenter
Get Your Act Together (2015) – Contestant
The Jump (2016) – Contestant
Dancing on Ice (2019) – Contestant
Guest appearances
The Chase: Celebrity Special (27 September 2014) – Contestant
Catchphrase: Celebrity Couples Special (5 December 2015) – Contestant
The Chase: Text Santa Special (18 December 2015) – Contestant
Personal life
McFadden married then-Atomic Kitten singer Kerry Katona on 5 January 2002 in Rathfeigh, County Meath, Ireland. They have two daughters. They divorced in 2006. In 2004, McFadden began dating Australian singer Delta Goodrem, with whom he collaborated on the duet "Almost Here". They were engaged but the pair ended their relationship in 2011. He married Irish model Vogue Williams in 2012 in Florence, Italy. They separated in 2015 and divorced in 2017.
In 2018, McFadden received a £450 fine and was banned from driving for six months at a Nottingham court after accruing 12 penalty points for four separate speeding offences.
In December 2019, McFadden announced his engagement to physical education teacher Danielle Parkinson on Twitter after three years of dating. McFadden announced in November 2020 that he and Parkinson were expecting. They welcomed their daughter on 16 May 2021.
Discography
Main article: Brian McFadden discography
See also: Westlife discography
Solo
Irish Son (2004)
Set in Stone (2008)
Wall of Soundz (2010)
The Irish Connection (2013)
Otis (2019)
Boyzlife
Strings Attached (2020)
Old School (2022)
Awards and nominations
APRA Awards
The APRA Awards are presented annually from 1982 by the Australasian Performing Right Association (APRA), "honouring composers and songwriters". They commenced in 1982.
Year Nominee / work Award Result Ref. 2011 "Chemical Rush" (Brian McFadden, Antonio Egizii, David Musumeci, James Maas) Dance Work of the Year Nominated
ARIA Music Awards
The ARIA Music Awards are a set of annual ceremonies presented by Australian Recording Industry Association (ARIA), which recognise excellence, innovation, and achievement across all genres of the music of Australia. They commenced in 1987.
Year Nominee / work Award Result Ref. 2010 "Just Say So" Most Popular Australian Single Nominated Brian McFadden Most Popular Australian Artist Nominated
See also
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correct_spouse_00121
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FactBench
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3
| 98
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https://www.tiktok.com/%40baileypickles/video/6951905756320926978
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Make Your Day
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https://www.smh.com.au/entertainment/celebrity/delta-goodrem-and-brian-mcfadden-put-off-wedding-20080419-gdsa57.html
|
en
|
Delta Goodrem and Brian McFadden put off wedding
|
[] |
[] |
[] |
[
""
] | null |
[] |
2008-04-18T15:53:00+00:00
|
en
|
/favicons/smh.ico
|
The Sydney Morning Herald
|
https://www.smh.com.au/entertainment/celebrity/delta-goodrem-and-brian-mcfadden-put-off-wedding-20080419-gdsa57.html
|
Delta Goodrem and Brian McFadden have pushed back their wedding until 2009 as both singers spend this year focused on their careers.
The couple, who became engaged late last year, had originally hoped to marry this year.
But they will spend much of this year apart, with Goodrem in America for months at a time trying to crack the US market, and McFadden travelling in support of his second solo album, Set In Stone.
"Next year's the wedding," McFadden said.
"We've had three years together every single day, and I think that whole three years was preparing for this year apart.
"It's been hard but because we're so prepared for it we knew we'd just work hard this year and try to set up the rest of our life."
Set In Stone is released tomorrow, the result of two-and-a-half years' work for McFadden.
The 28-year-old wrote 150 songs for the album, with 10 finding their way onto the record.
"When I'm in writing mode I pretty much write every single day," McFadden explained.
"As I wrote I went through a period of writing rock songs for a couple of months, and then pop songs, and dance songs and all different kinds of songs.
"By the end I just kind of had the best ones from each genre, because I wanted every track to be something different ... to keep me from getting bored."
McFadden said most of the songs are autobiographical, but since his last album, Irish Son, that is not so obvious because he is better at disguising their meaning a little.
"I didn't really leave much to the imagination in the lyrics (on Irish Son), so this time I wanted to make sure people wouldn't judge me from the words," he said.
"I wrote the lyrics in the way that they could have three or four different meanings.
"If people ask me I'll just say make up your own mind."
However, McFadden readily admits Like Only A Woman Can is about Goodrem.
The entire album is dedicated to his fiancee, whom he credits with having a "massive" influence on him, musically.
"I didn't really want to write songs or perform any more and she just kind of dragged me out of that box," he said.
"She breathed a lot of confidence into me as well, which I never had."
While he is a star in his own right in the UK from his days in the Irish boy band Westlife, in Australia McFadden is better known for being Mr Delta Goodrem.
He doesn't get sick of talking about her, but would like to be recognised primarily for his music.
"It can be a little frustrating at times," he said.
"I did something last night where they introduced me as Delta Goodrem's boyfriend Brian McFadden.
AAP
|
|||||
correct_spouse_00121
|
FactBench
|
1
| 97
|
https://www.smoothradio.com/news/music/delta-goodrem-boyfriend-age-songs/
|
en
|
Delta Goodrem facts: Neighbours singer's age, boyfriend, family and songs revealed
|
https://imgs.smoothradio.com/images/144577?width=1200&crop=16_9&signature=LQA3ZgIoAlKgYpBkctNRzay9Xfs=
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[] |
[] |
[
""
] | null |
[
"Smooth",
"Giorgina Ramazzotti"
] |
2022-07-28T14:33:35+01:00
|
How old is Delta Goodrem, does she have a boyfriend to and what's her net worth? We bring you everything you need to know about the Neighbours star including her birthday, her cancer battle and her most famous songs
|
en
|
/assets_v4r/smooth/img/favicon-16x16.png
|
Smooth
|
https://www.smoothradio.com/news/music/delta-goodrem-boyfriend-age-songs/
|
How old is Delta Goodrem and how did she become a singer?
Delta Goodrem was born in Sydney, Australia on November 9, 1984. She celebrated her 37th birthday in 2021.
Her parents are Lea (née Parker) and Denis Goodrem. She also has a younger brother, Trent.
These are the 6 best Australian singers of all time
Her career took off when she played the single 'Born To Try' on the show and it went to number one in Australia and number three in the UK.
After battling blood cancer in 2003, Delta released the album Mistaken Identity in 2004 and it became number one in Australia and went five times platinum with sales of 350,000 copies.
Delta Goodrem has since toured the world as a singer, has acted in various movies and TV shows and was a judge on The Voice Australia alongside Boy George.
In 2020, Delta released a six-minute video detailing how she had to have her salivary gland removed, leading to the paralysis of a nerve in her tongue, which left her having to re-learn to speak.
Who is Delta Goodrem's boyfriend?
Delta Goodrem is very private about her current relationship with musician Matthew Copley who she has been with since 2017 (see below for video of the pair singing a duet at home in lockdown).
Delta Goodrem, Elton, Stevie Wonder and more confirmed for coronavirus benefit concert
Delta was previously in a relationship with tennis star Mark Philippoussis who supported her through her battle with cancer when she was 18, and she was engaged to Westlife's Brian McFadden but they ended their relationship after seven years in 2011.
|
||
correct_spouse_00121
|
FactBench
|
1
| 78
|
https://www.pressreader.com/ireland/irish-daily-mail/20120522/281715496657625
|
en
|
Zeitungen aus der ganzen Welt
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Digital newsstand featuring 7000+ of the world’s most popular newspapers & magazines. Enjoy unlimited reading on up to 5 devices with 7-day free trial.
|
de
|
https://r.prcdn.co/res/de-de/g3416/t458771199/2/images/favicon.ico
| null | ||||||
correct_spouse_00121
|
FactBench
|
2
| 95
|
http://chasingrainbowskissingfrogs.blogspot.com/2012/10/brian-mcfadden-weds-vogue-williams.html
|
en
|
Chasing Rainbows Kissing Frogs: Brian McFadden weds Vogue Williams
|
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[] |
[] |
[
""
] | null |
[] | null |
Last month Hello magazine released photos of former Westlife singer (and Australia's Got Talent judge), Brian McFadden's wedding to Irish ...
|
http://chasingrainbowskissingfrogs.blogspot.com/favicon.ico
|
http://chasingrainbowskissingfrogs.blogspot.com/2012/10/brian-mcfadden-weds-vogue-williams.html
| |||||||
correct_spouse_00121
|
FactBench
|
3
| 37
|
https://www.tiktok.com/%40deltagoodrem/video/7260390604381719850
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null |