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Archive for the ‘Performing Arts’ Category

jazz band“Long before we debated what real punk-rock was, what true hip-hop was, or what made indie-rock authentic, jazz heads grappled with what is and isn’t jazz music. Now, the debate is whether jazz is dying off or not.

“Not long ago Jae Sinnett, a jazz drummer, composer, educator and radio personality, told NPR that jazz is dying because people are falling out of love with it. Hip-hop, Sinnet says, stole jazz’s thunder. He also blamed club owners for removing pianos from their venues to save space over the years.

“Sinnet’s claims are not unfounded. The Wall Street Journal‘s Terry Teachout reported in August that the audience for America’s great art form was withering away, based on data in the latest survey of public participation in the arts. According to the report, America’s jazz audience is not only shrinking, it’s aging. Attendance at jazz performances has dropped 30% since 2002. The median age of concert patrons in 2008 was 46; in 1982 it was 29. . . .

“Teachout said the problem is that most Americans see jazz as a form of high art. Sinnet confirmed that ‘the masses don’t understand the music,’ largely because there are fewer places to hear it. Getting ‘these kids’ to ‘realise [jazz] is something worth their time is difficult because they don’t hear it on TV or MTV.’ The word ‘jazz’ itself has even become sandbagged with lofty associations (Time Out London goes so far as to call it the ‘J Bomb’).” (more @ Intelligent Life)

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D'Lugoff“Art D’Lugoff, who was widely regarded as the dean of New York nightclub impresarios and whose storied spot, the Village Gate, was for more than 30 years home to performers as celebrated, and diverse, as Duke Ellington, Allen Ginsberg and John Belushi, died on Wednesday in Manhattan. He was 85 and lived in the Riverdale section of the Bronx. . . .

“Opened in 1958, the Village Gate was on the corner of Bleecker and Thompson Streets. The cavernous basement space it occupied — the building’s upper floors were then a flophouse — had once been a laundry. . . .

“The club closed its doors in 1994, amid rising rents, a changing market for live music and the aftermath of some unsuccessful investments by Mr. D’Lugoff. It briefly reappeared on West 52nd Street in 1996 but sputtered out after less than a year. . . .

“The Gate may have lacked the cachet of the Village Vanguard, a more intimate West Village club, but it was a bright star in the city’s cultural firmament for decades. A young Woody Allen did stand-up comedy there. The playwright-to-be Sam Shepard bused tables there. A waiter named Dustin Hoffman was fired there for being so engrossed in the performances that he neglected his customers, though service was by all accounts never the club’s strength. Dozens of albums were recorded there, by musicians like Pete Seeger and Nina Simone and by comics like Dick Gregory.

“Though most often thought of as a jazz space — among the eminences heard there over the years were John Coltrane, Miles Davis and Thelonious Monk — the Gate offered nearly every type of performance imaginable. There were blues artists like B. B. King; soul singers like Aretha Franklin; rockers like Jimi Hendrix; comics like Mort Sahl and Richard Pryor; and Beat poets.” (more @ NY Times)

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Sine Wave Goodbye Poster

Shameless plug for The Paper Industry‘s “Sine Wave Goodbye” which opens Thursday at Richard Foreman‘s Ontological-Hysteric Theater in Manhattan’s East Village . . . featuring my son (at left).

From the Press Release:

In The Paper Industry’s latest ‘ugly opera’ a man named M escapes the social machine only to lose himself inside his mind, rife with falling walls, forced dancing and maybe just a little bit of truth about Isaac Newton. M finds himself confronted by four oddball strangers in a landscape shaped by his subconscious in Sine Wave Goodbye, and through the use of dance, an original score and original text he hopes to discover what it is exactly that makes us tick. Exploring a fantastic and fatalistic interpretation of the laws of motion M will discover the tragic, glorious freedom of choice and consequence in a larger social context. The Paper Industry aims to exalt the singular experience of being human by distilling the most potent experiences into viscerally digestible moments. They unveil shadows of the human condition in order to illuminate intersection of sentiment between performers and audience members. For each of their pieces original music and text is combined with elements of the space towards one specific, cogent visceral effect.

Tickets can be purchased here.

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cadaver-book“Visual explorations of how the human body works have had us riveted since before Leonardo da Vinci sketched the famous Vitruvian man sometime around 1487. That fascination is the focus of what may be one of the most gruesome coffee table books ever.

Dissection: Photographs of a Rite of Passage in American Medicine 1880-1930 contains hundreds of pictures of medical students posing with the cadavers they were learning to dissect.

“These photos were something of an underground genre, says author John Warner, a professor of medical history at Yale. You wouldn’t see one in a doctor’s waiting room, but they were taken and treasured, and sometimes even passed around as Christmas cards.” (more @ NPR) [Click image to enlarge]

Meanwhile, in Berlin:

A controversial German anatomy artist is facing protests over his latest plastination exhibition after unveiling a work showing two corpses having sexual intercourse.

Gunther von Hagens, whose latest exhibition, Cycle of Life, opens in Berlin tomorrow, has defended the exhibit saying that it combines the two greatest taboos of sex and death and is a lesson in biology, but is ‘not meant to be sexually stimulating’.

“The exhibition has drawn angry protests from a cross-party group of politicians as well as church representatives. They have called for the work to be withdrawn, saying it is pornographic and an insult to the dead. . . .

“Von Hagens developed the plastination method several years ago after discovering a method for preserving bodies by replacing their fat and water deposits with injections of silicon, which then harden.

“His popular exhibitions, which have travelled the world, have included corpses playing chess, high jumping, and horse riding. Others have shown a dead pregnant woman and foetuses at various stages of development.” (more @ Guardian.UK)

Related: Prof In Corpse Sex Plan

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Posting will be spotty between now and the first week in June. I’ll be in DUMBO next week to see my son in “Sine Wave Goodbye” at the Ontological-Hysteric Theater and to attend my daughter’s commencement at Fordham University where she’s receiving her M.S. in TESOL Education. On the 17th my wife and I are off to Italy for two-plus weeks: Venice, Naples (Pompeii, Herculaneum), Sorrento & the Amalfi Coast, Rome. While in Italy I’ll post my impressions — especially of the food — on Twitter (you can follow my feedings either through the Twitter widget on the NSRG home page or directly on my Twitter page). Arrivederci!

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marin-reasonsCONGRATULATIONS to Marin Ireland for her 2009 TONY nomination for “Best Performance By A Featured Actress In A Play” for her performance as Steph in Neil LaBute’s reasons to be pretty.

reasons marks Marin’s Broadway debut after many successful roles both Off-Broadway and in regional theaters. My wife costumed Marin during her formative summer stock days and my son appeared opposite Marin in a summer stock children’s theater adaptation of “Goldilocks and the Three Bears” (Marin was Goldilocks, my son Baby Bear). We have been BIG Marin fans since those long ago summer days and have attended as many of her New York performances as possible. Finally, long overdue recognition for a fine, fine actor.

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dollhouse

Mabou Mines’ Dollhouse, which first opened in late 2003 at St. Ann’s Warehouse in Brooklyn, returned to St. Ann’s last month after five years of touring the world, for what is likely the final staging of the celebrated adaptation of Ibsen’s “protofeminist” classic, A Doll’s House. This exhilarating, bawdy and broadly comic production, in which the male actors are all “little people,” standing between 40 and 53 inches tall, and the women are all nearly 6 feet tall, closes next Sunday, March 8th.

An interview with Mabou Mines co-founder and Dollhouse director Lee Breuer can be found here.

A slideshow of images from the current run can be found here; or watch the promotional video –

Vodpod videos no longer available.

The original New York Times review from 2003 can be found here.

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