Musical Show – Mi Tercera Edad Thu, 10 Jun 2021 20:01:22 +0000 en-US hourly 1 Musical Show – Mi Tercera Edad 32 32 Is the ‘Tic, Tick … Boom!’ Film a musical? Details on the new Netflix movie Thu, 10 Jun 2021 18:46:04 +0000

Fans of Lin-Manuel Miranda’s work have of them things to celebrate this month: the release of In the heights and the trailer for his next project, Tic, Tic … Boom!. Starring Andrew Garfield and based on Jonathan Larson’s musical, the film is a semi-autobiographical project reflecting Jonathan’s life before his death. Is the movie Tic, Tic … Boom! also a musical? Here’s everything we know about the upcoming Netflix movie.

So the ‘Tic, Tick … Boom!’ is the film a musical?

The original musical was written by Jonathan Larson of RENTAL fame and detailed his experiences as a young songwriter in New York City in the 1990s. His father confirmed that the show was semi-autobiographical in the cover notes of the cast’s recording. After Jonathan’s death, the show was revised in 1996 and revamped by playwright David Auburn. Eventually, the show premiered off Broadway in 2001.

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Source: Netflix

Tic, Tic … Boom! revolves around the main character, Jon, a songwriter who is nearing his 30th birthday and feels inadequate due to his lack of achievement. The story follows Jon’s trials and tribulations on his way to success, and features a small group of characters to accompany him on his journey.

The show also makes frequent references to legendary composer Stephen Sondheim, and one of the show’s main songs is called “St —– S ——–” because his name is “so legendary that ‘it cannot be said out loud. “

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Source: Netflix

Will be the Tic, Tic … Boom! is the film a musical? The answer is yes! Andrew Garfield sings and dances throughout the trailer, and the Netflix adaptation marks composer Lin-Manuel Miranda’s directorial debut. In fact, the premise of the show has a musical within a musical, so there will be a lot of vocals.

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Lead actor Andrew is no stranger to the scene, having received critical acclaim for his performance in Angels in America and receiving a Tony Award for his work in the 2012 revival of Death of a seller.

Andrew Garfield as Prior Walter in

Source: The National Theater

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Other cast members include Alexandra Shipp (X-Men: Apocalypse) as Jonathan’s girlfriend, Susan; Vanessa Hudgens (Rent: Live) as Karessa Johnson, the lead actress in Jonathan’s first musical; Robin of Jesus (Mean) like Michael, Jonathan’s best friend; Joshua Henry as Roger, Judith Light as Rosa Stevens and Bradley Whitford as Stephen Sondheim.

When is the ‘Tic, Tick … Boom!’ release date?

Like many projects shot during the coronavirus pandemic, Tic, Tic … Boom! suffered several filming delays in April 2020. Fortunately, production was able to resume in October and end in November of the same year, but the delays also pushed back previously scheduled release dates. The recently released trailer announces that the film will be released in “Fall 2021”.

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The cast members of 'Tick, Tick ... Boom!'

Source: Netflix

Fans will have to wait and see more information when the film releases. Until then, Lin-Manuel Miranda is also currently working on The little Mermaid live adaptation as co-composer alongside original composer Alan Menken, and In the heights releases in theaters and on HBO Max on June 11. Suffice to say that the content of Lin-Manuel Miranda will not be missing in 2021 and beyond!

Tic, Tic … Boom! will be released on Netflix in fall 2021.

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Once the exam – hearts fly and the music sparkles in a generous and deep musical | Musical comedies Thu, 10 Jun 2021 01:43:00 +0000

reThe Arlinghurst Eternity Theater is named after Arthur Stace. He was the building cleaner in the 1930s when it was the Burton Street Baptist Tabernacle, and he was so inspired by the sermons that he felt called to write the word “eternity” again. and again on the trails around Sydney. He did this for decades, so determined was he to awaken his city and its people to love and redemption.

Maybe then Eternity is the perfect home for Once: the soft-spoken, deeply felt musical about the forces of human connection that compels us to reach out and hold on to a dear life. It’s a place for the soul, for the heart, and Once is about people who need their souls to be healed. Our main characters are “stopped” – depressed, stuck in a moment, unable to move on. Until they get moving.

First immortalized in the 2007 film of the same name, written by Glen Hansard and Markéta Irglová, who perform together as Swell Season, the musical made its Broadway debut in 2011 and won eight Tony Awards. . Richard Carroll’s Australian production debuted in 2019, a gem among musical theater’s most exuberant cousins. He returned home two years and a pandemic later with open arms and a 21-week tour ahead, filled with small venues offering the gift of intimacy. That’s what this musical needs: it works better if you get close to it.

A self-confident, music-driven production, Once is touring intimate locations across New South Wales. Photography: Robert Catto

From the entrance, proposals place us inside the story: mulled wine near the door, new signs in the foyer that welcome us in an old-style Irish pub. Even the bar wears its own costume. An Irish band plays folk songs. It is the sweetest form of immersion, a space between reality and a new fictional world.

On stage, Hugh O’Connor’s production design is warm and earthy, with wooden boxes and benches making up most of the non-instrumental props; Peter Rubie’s lights create a dimension – dismal darkness, hopeful rays of light. Swinging doors and a window offer the promise of forward momentum.

The story begins with a Heartbroken Guy (Toby Francis), who sang one last song on the streets of Dublin, preparing to leave his guitar, and possibly the world, behind. Then he meets a girl (Stefanie Caccamo). She sees the guy’s pain, recognizes something all her own in it, and offers him a lifeline they both need. Two bruised hearts in a city of poets, their connection unfolds into something beautiful and necessary – and utterly impossible (it only lasts five days).

Most musicals are headed for a happy ending; Once understands that not all romances end well, or even start at all. Instead, it’s a love story about feeling something new and nourishing – breaking through the numbness and stasis in order to grow taller.

Stefanie Caccamo as Girl in the Australian production of Once.
“Her ironic skill and amazing voice express emotion like a card”: Stefanie Caccamo as a girl. Photography: Robert Catto

The most dated aspect of the show is its story structure, which positions the girl primarily as a savior of the guy and only later as a complicated character in her own right, but her music – where a heart’s heart still lies. musical – never decreases its. It also helps that Caccamo is unmistakably the star of this production; her ironic intelligence and amazing voice express emotion like a card, making the girl feel very real and very human.

Francis’s Guy is gruff and miserable, a little less emotionally accessible than the Girl, but his glorious tenor and subtle mastery of timing make him an excellent partner for Caccamo. This Guy is also a product from the early 2000s; he thinks more of his own pain than that of the girl, but when they finally understand each other – and understand that their connection cannot last – he meets her then. It might make you cry.

Carroll’s production has matured since its first season into a self-confident, music-focused production. His humor is well judged, with Carroll’s love for the wide range being directed primarily towards Drew Livingston’s bank manager, who thinks he’s a bard. It is a welcome relief to laugh and laugh out loud, and this great outlet seems to have given Carroll welcome restraint; he trusts the vulnerabilities and emotional revelations of the characters to carry the rest of the series, letting their jokes – and there are a lot of them – play smaller and more real. It’s a welcome new dimension.

The few moments that seem to drag and flounder don’t last – the music, Irish folk mixed with flaming chants, is always there to save them. The cast is also the group, and musical director Victoria Falconer, who plays the role of Reza, has built a generous and shimmering musical universe, whose clarity is rightly prioritized by the sound design of Dylan Robinson.

The cast of Once.
The cast is also the group, led by musical director Victoria Falconer. Photograph: Robert Catto /

In the music, hearts soar and as the actors make their way through the show, movement director Amy Campbell asks them to create a moving symphony – a violin on roller skates, guitars in formation, a mandolin and a cello emerging from the shadows.

Ultimately, it’s the music – and the way it speaks the language of our feelings – that saves the guy and the girl, and that just might crack something in you too.

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Progressive blues movement takes root in the Sacramento Delta • Sacramento News & Review Tue, 08 Jun 2021 16:05:29 +0000

Unorthodox artist Blind Lemon Peel gains a foothold in the capital region

By Chris Elliott

Blind Lemon Peel is a newcomer to Sacramento, but has been at the forefront of progressive blues communities for over 40 years. Peel’s particular approach, incorporating traditional blues styles into adaptations of progressive blues, has been an evolution of decades.

The very phrase of the progressive blues seems to have a standoff in itself. It’s like “giant prawns” or “the only choice”. There is an inherent contradiction in the notion of progressive blues because the blues holds simplicity and tradition in such a sacred respect.

There is probably no form of American music whose purity is more fiercely protected by its listeners and practitioners than the blues. Any musician looking to make a high level expansion of traditional blues will be faced with stubborn doctrinaires eager to share their opinion on the merits of the experiment.

And they will usually say “no”.

Blind Lemon Peel seeks to do in Sacramento what it has already done on the blues scene in New York and, more recently, in Los Angeles: present its catalog of songs in an environment of impeccable musicality and engaging vocal delivery. Throughout his career, Peel has attracted musicians who are comfortable pushing the boundaries of traditional blues that have long served as benchmarks for the creation of new music.

In Los Angeles, Peel’s musical director was LA blues star Lucky Lloyd. Bobby “Hurricane” Spencer was his tenor and, as Peel likes to say, his “musical conscience”. Spencer is an LA blues legend, but also has a deep jazz education. His outsized presence in Los Angeles marks a second chapter, as Spencer’s time in the Bay Area earned him a star on the Walk on Fame in his hometown of Oakland. The company of advanced musicians following Lloyd and Spencer has become a Swiss Army knife to Peel, and his eagerness to start in Sacramento is palpable.

Meanwhile, local fans see Peel’s presence in Sacramento as a welcome pop of color to accentuate its bustling traditional blues community.

So is progressive blues still a thing? Believers say it is human nature – and also the nature of musicians – to test what convention has determined to be a limit or a bare minimum.

“It’s not a muddy okra, you can taste each flavor individually,” notes Spencer. “It’s the kind of music that brings me back to clubs where, if you play the music well, there’s bound to be a fight.”

There comes a time when a progressive blues experience will be seen as frivolous, but many musicians are looking to further open the umbrella that covers the genre, and do so with a credibility that shifts the markers. Blind Lemon Peel identifies with this company.

A little-known story

Who could be the Robert Johnson of progressive blues? Who was the first blues band or musician to turn the wheel to the left and hold it there, and do so with wide acceptance? A questionable ancestor is John Lee Hooker. He moved the blues in a new direction not by adorning it, not so much by expanding the existing accepted harmonic structures, but by composing them even lower and shining a light with his fiery vocal timbre. Hooker’s way of approaching the blues was gradual as it was, very often, an additional three chord reduction to one.

Another favorite is Canned Heat. The band comes from one place, the blues, but also demonstrated with their 1968 double live album “Living the Blues” that they are comfortable bringing style into a rock and psychedelic universe.

Captain Beefheart’s music is another place to look to increase your progressive blues intake, bearing some resemblance to the Blind Lemon Peel concept. The captain’s rough, ready throaty bark doesn’t necessarily clash with the blues (think Howlin ‘Wolf and Koko Taylor), but Beefheart’s growl adds angularity to the storytelling. Likewise, Peel’s emotional hostage-taking in his final choruses arched an often pretty and often twisted back-and-forth between him and his back vocal line. So while a good part of Beefheart’s work is well outside of the blues, another part is unmistakably inside – and that part sounds a bit like Peel.

Blind Lemon Skin at the 20th Hayward Blues Fest.

Given that Peel has a composition and performance style that both borrows and creates, there is a real opportunity for a twelve bar semantic war of blues philosophy to erupt here. It happened before when people said that the act of Muddy Waters plugging his guitar into an amp was progressive.

Innovations in amplification, instrument making and recording were all integral to the evolution of blues music, and the great artists who took advantage of these technologies to create new avenues of expression could be considered “progressives” in the blues. The tent is as big as you want it to be.

In terms of live performances, Peel’s show is absolutely traditional – the crisp arrangements, the high-level musicality, the bright red hat – but what separates its lemony approach is its elaborate emphasis on presentation. Eight-tenths of the show is original material, and the covers it does usually have an extreme makeover. Rather than offering traditional BB King covers and arrangements to a blues-savvy audience, Peel presents a wide selection of sensations, tempos, tones and lyrical content, all with a philosophy of never being bored. which enlivens the larger spectacle. Master of ceremonies skills, comedic elements, and an all-female backstory vocal line give an evening with Peel an almost cabaret-like glow.

The right city at the right time

Sacramento has long burned with a deep love for the bizarre side of the blues. Maybe some of it stays a bit underground – traditional musicians meeting in the garage for a progressive jam. It’s a city where you sometimes hear unusual harmonies over common chord changes, as well as rhythms that shift the tonal foundations away from expectations. That’s what Peel found here.

In Sacramento, the team preparing to support Peel’s upcoming show on September 24 at the El Dorado County Fair includes a top-notch brass section, vocal elements derived from Oakland’s famous Cold Blood and the one of the best rhythm sections in the Sacramento area. This includes Dana Moret. Fans of regional clubs take note of shows such as Moret, Steve Dunne, Danny Sandoval, Larry Davis, Dave Johnson and AJ Joyce.

“I know I’m walking on sacred ground,” Peel says of taking liberties with what has been proven to work. “This is the reason why I am here. Believe me, I respect the track record of the music I play. My show is not humble. It’s scandalous. But I am humble. I know where this music comes from and what it means. I have a band ready to put on a version of the show that I had in New York and Los Angeles… They have always found a large and appreciative audience, and I intend to do the same here.

Peel adds, “The way I categorize progressive blues broadens the genre while also firmly anchoring its roots in its past – Mississippi, Chicago, Texas, Kansas City and even Louisiana – almost creating a fusion of styles. Progressive blues works outside the box and isn’t afraid to take risks and experiment, knowing exactly when to bring it home.

Steven Dunne, guitarist and musical director of Blind Lemon Peel.

B. Noel Barr, producer at the New Blues Festival and president of the Long Beach Blues Society, is a fan who thinks Peel keeps his promises.

“Blind Lemon Peel puts on an incredibly awesome show for audiences who want real blues with a healthy sense of humor,” says Barr. “It’s a cool, mean act that generates incredible energy and contagious excitement.”

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The controversial music that is the sound of the world’s youth Mon, 07 Jun 2021 23:09:35 +0000

However, in an article from 2020 for the British Criminology Journal on the criminalization of exercise music, Jonathan Ilan, senior lecturer in the sociology department at City University of London, stresses the need to qualify the way lyrics are interpreted. “Contemporary British exercises are treated as if they are talking about literal truth,” he writes. He argues that many rappers exaggerate or fabricate violent stories because they know it attracts listeners: “This is not to deny that crime and violence takes place involving drillers as victims or perpetrators. – rather it emphasizes not seeing violence as directly related to, caused by, or evidenced by music. ”Ilan also suggests that exercise censorship does more harm than good, further alienating marginalized communities and ultimately exacerbating the conditions that lead to urban violence in the first place.

Drill fans and practitioners contend that by confronting the darkest truths of modern life and holding up a mirror to the most needy, desperate and violent elements in society, their art resonates with disenfranchised young listeners. across the world – and that in itself is precious. “It’s music they can feel,” says Corey Johnson. “They can feel that’s the voice of what’s going on. So you get kids in other countries saying ‘this is what’s going on for. me, this is what happens on my streets’. “He adds that, rather than worsening urban living conditions, drill now offers a proven path to a better life.” Due to the lack of social and economic opportunities, music becomes a business. It becomes more positive than negative. ”

Johnson says the harsh realities that gave rise to the exercise should not be denied or censored, comparing his reflection of gang violence to the prevalence of domestic violence narratives in ancient blues music. “Maybe the media has never looked at it like that, but a lot of things arise out of hardship and pain. In the same way that behind more or less every fortune there is a crime.” What is also clear is that for many, exercise is no longer even linked to swagger or talk about killing opps. Since gang conflict is a male-dominated phenomenon, perhaps the decreasing importance of violence in exercise music is related to the rise of women on the exercise scene. While artists like Sasha Go Hard and Katie Got Bandz played crucial and low-key roles in Chicago’s exercise debut, British rappers like Shaybo and Ivoirian Doll – who was recently crowned “Forest queen“- are now reaching fame levels that rival men.

The future of the drill

No matter how it is controlled, the global rise of exercise seems unstoppable. As of this writing, Ghana’s drill scene is becoming the hottest in the world, completing a loop that before London, before Chicago, even before hip-hop parties in the Bronx, began with Jamaican sound systems and, before that, the African drum. “We as Africans, the drill speaks to us differently,” says ChicoGod. His definition of exercise is broad, progressive, dynamic. “Exercise is a way of life. It’s about what we see, go through in a society, what society has done to us. We talk about good, we talk about evil.” For him, loving exercise suggests open-mindedness in a listener. “Because the people who listen to this sound, I’m sure, have decided to listen without trying to judge the person. Not everyone likes it. And if you like it, then you connect with it, one way or another. Anyone can relate to it, just listen. You just have to be careful what the person says.

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Frank Foster to headline the first night of Musicfest Mon, 07 Jun 2021 05:05:25 +0000

The Murphy Arts District (MAD) has announced that Frank Foster will headline Friday night, October 1, of the Musicfest weekend.

Foster will be supported by the opening act Pryor and Lee, the 2018 contestants of “The Voice”.

The Saturday night show, scheduled for 8 p.m. on October 2, will be hosted by Snoop Dogg, opening act Bone Thugs-n-Harmony.

Foster’s musical journey began in 2011 with the release of his debut album “Rowdy Reputation”. To follow up on that, in late summer 2012 he released his second album, “Red Wings and Six Strings”, which debuted at No. 30 on the Billboard Country Chart and No. 1 on the charts. Billboard South Central US Heat Seeker. Foster’s next five albums also all debuted on the Billboard Country Charts.

Foster embodies musical independence at its highest level; he not only took the road less traveled, but the road was hardly ever walked. Acting as his own record company, management and publisher, he has managed to find success that some major record label artists may never find.

The rural Louisiana native and former oilfield man took his songs from the campfire to the Colosseum seemingly overnight, while gaining a following of fans whose loyalty is unmatched.

“Southern Soul” was released in 2013 and debuted at No.11. “Rhythm and Whiskey” was released in 2014 and debuted in 4th place. Its early 2016 release, “Boots On The Ground”, debuted in 7th place. Later in 2016, he released “Good Country Music”, which debuted at No.13. In 2018, he released his seventh album, “‘Til I’m Gone,” which debuted at No. 2 on the Billboard Country album sales chart, giving Foster his highest rating to date.

He’s a singer, songwriter and his own boss. He refuses to let anyone water down his genre of country music. If he sees it, he writes it; if he writes it, he sings it; if he sings it, he believes it.

The concert doors will open at 6 p.m., with the opening act for Pryor and Lee on stage at 7 p.m. Tickets are available in three sections; premium, pit and general admission.

Premium tickets include a seat in a raised section located at the front right and front left of the stage. Premium tickets also include a private bartender for each section.

Tickets for the stands are general admission, standing only and located directly in front of the stage.

General admission tickets are first come, first served, located behind the pit section. General admission is reserved for standing places with a limited number of seats at the back of the room.

Frank was scheduled to perform at MAD in June, however, due to capacity guidelines we postponed the show. When we started to see COVID restrictions ease, we saw the possibility of adding a Friday number. night at Musicfest and immediately thought of Frank. His fans travel all over to see him play and have a large local audience. We hope that with our two music nights and all the Saturday activities on Main Street during the day it will make another fun weekend in El Dorado, ”said Pam Griffin, president and CEO of MAD.

The concert will take place in the First Financial Music Hall from 7 p.m. on October 1. Tickets for the event will go on sale to MAD members on Wednesday June 9 at 10 a.m. and to the public on Friday June 11 at 10 a.m.

Tickets can be purchased at or by calling the box office at 870-444-3007. Customers can also purchase their tickets in person at the MAD Box Office, 101 E. Locust St. Tickets for the October 2 concert (Musicfest night two) with Snoop Dogg with special guest Bone Thugs-n-Harmony are currently on sale. sale at the above address. -places mentioned.

Frank Foster ticket prices

Premium: Advance, $ 100; day of show, $ 110

Pit: Advance, $ 35; day of show, $ 45

General admission: Advance, $ 25, day of the show, $ 35

Tickets will incur site fees and taxes at checkout.

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The Cleveland Museum of Art offers one more week to see the extraordinary photos of Bruce Davidson’s “Brooklyn Gang” Sun, 06 Jun 2021 11:51:17 +0000

CLEVELAND, Ohio – You can forgive yourself for remembering the 1957 Broadway musical, “West Side Story,” inside the visceral, poignant and deeply engaging exhibit “Brooklyn Bandat the Cleveland Museum of Art.

The comparison is compelling, even if it is not entirely relevant.

The show, which focuses on 50 photos from a famous 1959 Bruce Davidson documentary series, chronicles the nihilism, boredom and lack of purpose of white ethnic teens adrift in Brooklyn’s Park Slope neighborhood. , long before it became fashionable and expensive.

Davidson introduces viewers to the Jokers, a Polish and Irish gang who, like the Jets in the Bernstein-Sondheim musical, used chains, knives, baseball bats and, sometimes, homemade slide pistols, to fight with a rival gang.

The stiff bodies, petroleum-coated pompadours and crude tattoos sported by Davidson’s subjects evoke thoughts of Tony and Maria, Riff, Chino, Bernardo and Anita.

Yet there is no romantic redemption through art, song and dance numbers in Davidson’s images, which practically reek of ashtrays, sweat and diesel fumes, the salty flavor of Coney Island. and the suffocating heat of the tar paper roofs on a sweltering summer afternoon.

Living in the moment

Davidson’s subjects, including Junior Rice, Bob Powers, Lefty, Jimmie, DD, and Henry, are shown living uncomfortable for the time being as they have fun at a neighborhood candy store, take macho poses or take the neck with girlfriends.

When the mischievous Bob Powers smiles, he reveals a mouthful of rotten, broken teeth, which he would later describe as “green” because his family couldn’t afford to send him to the dentist.

When Jimmie comes out shirtless from his job under the hood of the car, smoking a cigarette, he uses a dirty rag in a futile effort to wipe off the grease that smears his muscular arms up to his shoulders.

Viewers learn on the show that “Lefty,” who was popular with girls despite his questionable appearance, has lost confidence after spending a year in prison. He “ate a lot of pills one night and never woke up,” according to a quote from Powers on a wall tag. “His mother found him dead. OD’d in bed at 19. He was the first in the group to die of a drug overdose.

Extended during the coronavirus pandemic and presented for one more week, the exhibition is an opportunity to gain insight into a subculture of youth on the fringes of the Beat Generation, at the height of the Cold War and in the day before the social revolutions of the 1960s.

Big city gangs, “delinquency” and unjust rebels were concerns of the day, elevated to mythical proportions by films starring James Dean or Marlon Brando. The menacing, leather-jacketed bravado of Hollywood antiheroes stood in opposition to the gray flannel conformity of the corporate culture of the day, criticized by sociologist William H. Whyte in his 1956 classic, “The Organization Man.” .

Unusual access

Davidson, who was 25 in 1959 and looking for a photographic project, persuaded the Jokers to admit him into their world, the opposite of Wall Street, Madison Avenue, and other ladders to middle-class success.

Powers, then known as “Bengie,” suggested that Davidson follow him to a rooftop in the gang’s neighborhood. “This kid is going to throw me off the roof and then rob me,” Davidson later recalled.

But Powers asked Davidson to look down at a stickball game below and pointed through a forest of TV antennas towards the Statue of Liberty, saying, “‘Get this.’ ”

Davidson’s photographs resonate today because he captured unattended, soul-revealing moments with his Leica. He had a knack for creating quirky compositions full of action and movement. And he recorded what he saw without moral judgment.

Images of Davidson’s Jokers communicate a sense of two-way acceptance rather than the searing alienation from Robert Frank’s 1958 portfolio, “The Americans,” or the unsettling weirdness of Diane Arbus’s 1960s portraits of people in the world. margin of American life.

In today’s journalistic parlance, Davidson has successfully incorporated his subjects. They got used to his presence and ignored the click of his shutter.

Davidson’s extraordinary access allows us to accompany the ride as virtual acolytes.

You can smell the moldy dampness of “the slit,” a space 30 feet wide, three and a half feet between two buildings, where Powers and his friends performed gymnastic tricks on a dirty pipe mounted six feet in the walls. tunes. Davidson positioned himself under the pipe, looking up through a dramatic V-shaped notch against the sky as Powers and his friends watched him.

Looking back from the front seat of a car on the way home from Coney Island, Davidson photographed Lefty as he slipped off with a young woman, creating an iconic image of youthful lust.

Layered information

Curated by the museum’s curator of photography, Barbara Tannenbaum, the exhibit celebrates the recent anonymous donation to the museum of a large selection of Davidson’s archives.

The show skillfully contextualizes the Jokers series through a variety of chronological filters.

For example, the photo of Lefty Necking is featured in a new context on the cover of a 2009 vinyl sleeve for Bob Dylan’s album, “Together Through Life”. and danger and instead “conveys an alluring mood” that “seems to come back to a more innocent time”, as the exhibit indicates.

Throughout the show we hear the adult voice of Powers, who changed his life at 40 when he detoxed, learned to read, and became an addiction counselor. In 1998, he reconnected with Davidson and later wrote a memoir.

The show also dwells on the June 1960 article written by Norman Mailer to accompany a selection of Davidson articles published in Esquire magazine. The article traces Mailer’s experiences with Davidson and the Jokers in a way that mimics the photographer’s journalistic technique of recording what he saw as it unfolded around him.

Despite this, Mailer concluded his article with a surge of anti-conformist rhetoric that anticipated the countercultural ethics of the 1960s.

“Yes, there is now a place for everyone on the American scene,” he wrote, referring to the iconic “Somewhere” duo of Tony and Maria, “except for those who want to find the limits of their growth. by a life ready to welcome a little danger as part of the divine cocktail.

Mailer’s provocative tone rings hollow amid the overall emotion of the show, which stems from the retrospective vibe imposed by Tannenbaum’s curatorial voice and the memories Powers is quoted in.

Nothing embodies this older, wiser flavor better than a powerful image taken in Coney Island in which gang member Artie Giammarino, who later became a cop, rolls up his right sleeve to tuck in a pack of cigarettes.

Cathy O’Neal, who was “beautiful like Brigitte Bardot,” according to Powers, is shown next to Giammarino, striking a hipshot pose and admiring herself in the mirror of a cigarette machine as she fixes her blonde mane in streaming.

O’Neal, we learn, started dating Junior Rice, a member of the Jokers, at the age of 13 and became pregnant with him at 15. Years after the divorce, Cathy committed suicide by shotgun.

This information, laconically conveyed in a wall tag accompanying the Coney Island photo, transforms it from a sexy image of life on the fast lane into a memento mori.

In “West Side Story”, Tony dies young and handsome in Maria’s arms after being shot by Chino, in a variation of “Romeo and Juliet” by Shakespeare.

The Davidson exhibit shows – and tells – the more serious real-life story of what happened to members of a real New York gang, in life and death, during and after the long hot summer of 1959. It is is a story worth catching up on this week, while you still can.


What’s up: “Bruce Davidson: Brooklyn Gang.”

Location: Cleveland Art Museum

Or: 11150 East Blvd., Cleveland.

When: Until Sunday June 13.

Admission: Release. Call 216-421-7340 or go to

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Peanuts Come To Life In Latest FCP Musical | Scene Sat, 05 Jun 2021 17:37:00 +0000

A new production from First City Players is set to debut next week, bringing an upbeat, musical take on classic comic book characters to the stage.

In an interview with the Daily News on Thursday, FCP executive director Elizabeth Nelson said “You’re a good man, Charlie Brown” was exactly the show she’s been looking for this summer.

“I was looking for something that met our criteria,” Nelson explained. “One, he had to have a little casting. Second, I wanted something that was absolutely, completely, and totally family-friendly. I wanted something that would lift my spirits, and this particular show ticked all the boxes. “

The show also doesn’t require a lot of sets or costume changes for the six members and the small backstage crew.

The cast brings six of the Peanuts characters to life that first came to life via comics by illustrator Charles Schulz. Cast include James North as lead character Charlie Brown, Dani Steepe as Lucy van Pelt, Peter Epler as Linus van Pelt, Amanda Glanzer as Sally Brown, Niles Corporon as Schroder, and Dani Pratt as Snoopy. The show also includes a small cameo appearance by Epler’s daughter, Addy.

Bridget Mattson and Clare Bennett directed the choreography for the show, while Deidra Nuss was the musical director.

Nelson said that at the time of the hearings earlier this year, local uncertainty over the coronavirus potentially prompted some FCP regulars to flee the scene.

However, “We had enough people, we had more than enough people,” Nelson said of attending the auditions, which allowed the cast to be completed with returning artists and new faces. “… And I ended up with a cast that I’m really, really happy with.”

And this cast has worked to bring classic Charlie Brown moments to life on stage during rehearsals for the past three months.

“Where most of the shows have a full story – there’s a plot – this show is really more like the comics themselves,” Nelson said. “Where we’ll have a little short story – it sure tells a story – but it’s over when it’s done.” Many of them are told in musical numbers. It’s really light, so for me it’s perfect for where our world has been recently.

The actors – who were all fully vaccinated against the coronavirus when rehearsals began – have always proceeded with caution amid rapidly changing local guidelines.

“We have of course been through all the ups and downs of the last two weeks,” said Nelson. “It’s like everything else over the past year. You don’t know what tomorrow will bring.

But Nelson hopes that “You are a good man, Charlie Brown” can provide positive reviews from local families.

“It’s just something that you can do with your whole family and come back loving everything, everything about the world,” she said.

For actor Dani Steepe, the playful production is his first FCP credit.

“It’s so cute, it’s so funny,” she described the show. “It’s really precious. It’s just a day in the life of Charlie Brown.

Steepe plays Lucy van Pelt, and although she’s never been to an FCP show, she’s not new to the world of theater.

“It’s something I used to do when I was younger,” Steepe told the Daily News Thursday afternoon. “I did musicals from grades four to eight, and then I chose to take track and field instead of musical theater. And I played softball in college, actually, but now my competitive sports life is over and I’m going back to musical theater.

Steepe said her role as Lucy is a fun exercise in playing a character with a personality opposite to her own.

“I’m not a bossy, arrogant person and it’s been a lot of fun playing this character who just thinks she’s always right,” Steepe said. “She’s leading everyone around.”

She said preparing for her first production in years illustrated the differences from the performances she has done in the past.

“At this (college) age the directors are somehow hoping that you can memorize your lines and learn the songs, and that’s all expectations go,” she explained. “But Elizabeth (Nelson) and Deidra (Nuss, musical director) really worked with me on body language and facial expressions and different ways of singing that really bring a character to life. So it’s not just about reading lines and singing songs, I’m actually becoming that character of Lucy, and it’s been a fascinating process for me, something that I never had the chance to do. ‘learn before.

With opening night a week away, Steepe is looking forward to her FCP debut, even though she doesn’t have the jitters, she explained.

“I’m definitely nervous, just because I haven’t done it for so long,” Steepe commented. “Just because I haven’t done it for so long. I tend to do better, at least in my sporting history, I tend to show myself and do better in games than in training, so hopefully that translates into the show as well.

Like Steepe, Niles Corporon, who plays Schroder on the show, also connects with his character, though he has a lot more in common with his role than Steepe.

“One of the things I love about his character is something that I can relate to,” he said. “He’s very passionate, he knows the things he loves, he knows the things he loves to do, and he’s passionate about classical music and the piano and his favorite composers, especially Ludwig van Beethoven. And despite the fact that none of his friends seem to actually share this passion, he is happy to try to encourage them to share it with them. And they understand it and accept it for the fact that it’s basically all of her life and all of her character, perfecting her craft.

Corporon last performed with FCP in a 2016 production of “The Little Mermaid”, in which he played King Triton. He first performed with FCP at the age of 13, as an ensemble member in “Oliver Twist”.

The corporon was unfamiliar with the musical version of “You’re a Good Man, Charlie Brown” when he decided to audition.

“It’s a show that I had never heard of before, and I knew it would be a small cast, so I thought it would be a good way to go back in time without jumping straight into a big musical. ‘fall or something, “Corpoon said of her choice to audition for the show.

He did not intend to represent Schroder at his first audition.

“When I went to the audition… I went into it thinking I wanted to be Linus,” he said. “But at the start of the audition process, I was like, ‘I don’t think I have the right temperament to play Linus. “”

He thinks the message of “You are a good man, Charlie Brown” runs deeper than the comics.

“This little group of Charlie Brown and his friends, they’re like this little microcosm of a community,” Corporon said. “… I think about the way they come together, and they appreciate and support and accept each other, even though they’re all such different characters with such great emotions and egos and they have all these differences and preferences. and opinions and likes and dislikes, but at the end of the day they are all able to support each other and come together.

Corporon said the show’s overall message is resilience.

“I would say, especially for the character of Charlie Brown,” he noted. “It’s just his resilience as a person to be able to deal with whatever comes his way. … I feel like this is a message the city really needs right now, it’s just to hang on, keep hoping, be resilient, keep taking risks, keep pushing themselves and dealing with it even if things don’t work out, maybe next time around they will.

“You’re a Good Man, Charlie Brown” opens at 7:30 p.m. on Fridays, with subsequent performances at 7:30 p.m. on June 12, 2:30 p.m. on June 13, 7:30 p.m. on June 18 and 2. 30h June 19.

Tickets must be purchased before the show from the FCP.

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If Scott Rudin stayed with The Music Man, Sutton Foster wouldn’t Fri, 04 Jun 2021 22:45:00 +0000

Sutton Foster at the 17th Annual Women's Day Red Dress Awards.

Sutton Foster at the 17th Annual Women’s Day Red Dress Awards.
Photo: Bryan bedder (Getty Images)

Tony’s Winning Star Sutton Foster said she would not return to her role in the Broadway cover of The man of music if producer Scott Rudin had a role in the next revival. The dishonored producer has taken a step back from his current projects following allegations of abusive behavior at work in April.

“Obviously we were facing a situation and navigating a very difficult situation, so there were a lot of conversations going on,” Foster said. Variety. “All I can say is that was definitely part of the conversation. I can say it was definitely part of the conversation, but it was never a threat – it was always part of the discussions about what I felt comfortable with and what I wanted to be involved with.

All Broadway shows are on hiatus since New York cinemas closed in March 2020. The stages reopen in September, and The man of music first time in February 2022. Foster will star in the series alongside Hugh Jackman.

“I’m very happy to be a part of this production and to move Broadway forward and to create a safe, fair and inclusive environment for everyone involved, not just on our production, but beyond. That’s what’s important to me, so I needed to have these conversations, ”says Foster.

Rudin’s toxic behavior in offices and on sets has been well documented during his four-decade long career. However, the day of the producer’s accounts did not come until after a briefing in Hollywood journalist, where former staff called him an “absolute monster”, citing actions not limited to throwing objects at staff, aggressive belittle, throwing tantrums at the slightest inconvenience and smashing an Apple computer screen on a assistant’s hand. Former interns and assistants then shared their experiences with Vulture, detailing the exhausting and stressful days that left them fearful of working for a man who promised to ruin their careers.

Following the allegations, Rudin decided to retire of his Broadway Projects, saying “Much has been written about my story of disturbing interactions with colleagues, and I am deeply sorry for the pain my behavior has caused to individuals, both directly and indirectly… After a period of reflection, I have made the decision to stop returning from active participation in our Broadway productions, effective immediately. ”Rudin’s next film is that of Wes Anderson The French dispatch, in theaters October 22, 2021.

News of Rudin’s abusive work environment didn’t send a shock wave to Broadway, but rather a ripple. Expect a #MeToo moment similar to what happened in the movie following the arrest of Harvey Weinstein, Karen Olivo, Tony nominated announced in an Instagram video that she won’t come back Red Mill! Musical comedy distribution, due to the lack of response from the big theater industry for years. While Rudin was not involved in Red Mill! Musical comedy, Olivo says “The silence on Scott Rudin: unacceptable.” It should be obvious.

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‘American Idol’ winner playing a Bob Seger tribute show at the North Charleston Distillery | Charleston scene Fri, 04 Jun 2021 16:00:00 +0000

Bob Seger’s ninth studio album “Night Moves” was released in 1976 as a sentimental summer hangover record full of familiar feelings and steeped in blues rock and roll.

Exactly 30 years later, Taylor hicks won the fifth season of the “American Idol” singing contest show, beating fellow favorites Chris Daughtry, Kellie Pickler and Katharine McPhee with her covers of the blues, rock and pop of the Seger – Bruce era Springsteen to Elton John.

Now he’s playing a tribute show in North Charleston in honor of the ’76 album which helped inspire his love for music. Hicks will perform the outdoor concert at Firefly Distillery June 12.

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“I grew up studying Bob Seger and learning to write very rootsy songs,” said the former “Idol” champion. “It’s just his thing. As a songwriter, a lot of my songs over the years have lent themselves to that sort of thing as well. It makes sense all around.”

Hicks, who last performed in Charleston over half a decade ago when he served with the North Mississippi All Stars at Home For, bounced between the tribute performances of Van Morrison, Joe Cocker and Bob Seger – a trifecta that blends with his singing style.

His original music has been on the back burner, at least as a studio album, for over a decade. Hicks’ latest record, “The Distance,” came out four years after winning “American Idol” and sold 13 times fewer copies than his eponymous platinum album which was still spinning round in a circle. new TV show in 2006.

As Kellie Pickler toured with Taylor Swift and the Rascal Flatts, and Chris Daughtry cut his first name off and formed a popular traveling rock band, Hicks’ label abandoned him and he played “Teen Angel” in comedy. traveling musical “Grease”.

“We all knew at that point that ‘American Idol’ was ultimately going to lead us to a long career,” Hicks said, saying the label’s downfall was a mutual decision. “But being able to navigate all of these waters is tricky. Fortunately, it’s a marathon for me and not a sprint.”

Hicks hasn’t stopped playing music the whole time. But in addition, he adopted other interests.

Among them was the acting profession, something he was passionate about and which he began to follow after his crash course in the entertainment world behind the scenes of “Idol”.

“I always had a vision very early on to be an artist, but I really didn’t know what that necessarily meant,” Hicks said.

Food also joined his list of passions when he co-owned a barbecue in Birmingham, Alabama.

Saw’s Juke Joint’s Sweet Tea Fried Chicken Sandwich gives Hicks as much joy as strumming his guitar or adopting a character on camera.

“Chik-fil-A, eat your heart!” Hicks proclaimed his favorite food at the restaurant.

Folly Beach Songwriter's Soapbox Builds Confidence In Acoustic Artists

He said a real appreciation for food emerged on these early tours after “American Idol”.

“When you’re on tour with a band, you also do food tours,” Hicks said. “They go hand in hand.”

Promoting the barbecue is a bit like promoting hit songs, he added, and it doesn’t hurt that live music is a big part of Saw’s – “a feast for the soul, ears and palate “.

Hicks is racing to take major action in 2021.

James Island Band Wins Trident United Way Singing Fundraiser, $ 11,000 in Prizes

He has a role in the upcoming movie “Stars Fell on Alabama” and has finished recording a brand new album in Zac Brown’s studio. South Land Nashville.

“It’s kind of like Chris Stapleton and Jackson Brown have a baby,” Hicks hinted at his sound on the next album. “It’s better than any record I’ve made, and it took me 10 years to do it.”

One of his original new favorites, “Six Strings and Diamond Rings,” will likely make its way into the Firefly set list, Hicks said.

Reach Kalyn Oyer at 843-371-4469. Follow her on Twitter @sound_wavves.

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Anthony D’Amato in a Songwriters Circle – The Durango Herald Thu, 03 Jun 2021 23:01:09 +0000

Three guitars, three voices, a stage and a bunch of songs. The first in-person performance that the Fort Lewis College Community Concert Hall will host in more than a year is a three-artist affair with all three musicians headlining.

Featured “A Circle of Songwriters”, the event on Thursday will feature Boulder’s Daniel Rodriguez (who may be known in folk and bluegrass circles as a founding member of Elephant Revival), Durango’s own Thom Chacon and Anthony D ‘Amato, a New Jersey native who pre-hit New York City before moving to Durango for what he thought was a few weeks of home care. Those weeks turned into 10 months that found him in love with the city.

Thursday’s show will be a loose musical affair with all three players taking turns playing songs and telling stories. Community concert hall manager Charles Leslie admitted that he was “hungry to bring back live music and artists were thirsty to perform” and that fans were thirsty to attend, such point that this limited-ticket event sold out quickly enough that the concert hall changed into an evening of two shows; the sold-out performance at 7 p.m. will be followed by another at 9 p.m.

WHAT: A circle of songwriters with Thom Chacon, Anthony D’Amato, Daniel Rodriguez.

WHEN: Two shows, Thursday at 7 p.m. and 9 p.m.

O: Fort Lewis College Community Concert Hall, 1000 Rim Drive.

TICKETS: $ 25 per ticket, tickets sold in groups of two or four. Available online at

MORE INFORMATION: Visit or call 247-7657.

D’Amato hasn’t been on stage since early 2020 and he expects his return to be just a good time.

“I was looking forward to it so much. A show like this is more loose and fun. I might have more nerves if I had to go upstairs and play alone for two hours, and I have to remember 120 minutes of lyrics that I haven’t sung in a long time, ”he said. “But a show like this, I just think it’s gonna be fun. Daniel is an old friend, Thom whom I met recently and we really hit it off, and I just can’t wait to hear their songs as much as I play mine.

D’Amato is a singer-songwriter with an indie-rock vibe who took the well-traveled path of music – piano lessons at a young age with hip parents who took him to shows instilled in him love of music; a New Jersey breeding included a good dose of Springsteen and the gun dudes. Bob Dylan, Neil Young, and Leonard Cohen were all part of the songwriting road that D’Amato says “leads to Woody Guthrie.”

He rubbed shoulders with a few heavy hitters when he was signed to trendy indie label New West, had the music of the Big Easy influence his sound when he wrote and recorded his New Orleans EP “Five Songs” while strolling through Crescent City, and has since released singles. His latest feature is in the box, which will likely be released later this year.

Thursday’s show will find D’Amato both a fan and performer, looking for stimulation and motivation while Chacon and Rodriguez perform their own songs.

“It’s a really fun way to get inspired. You’re sitting on stage, you’re up close and you’re watching other people’s fingers move on the fretboard, and you’re like, “It’s not a chord that I use very often, I should try this when I come home. the House”. Sometimes you end up playing on each other’s songs and then someone takes a solo and you’re like, “I never thought of playing it that way,” D’Amato said. “It’s a chance for me to strip things down and try different things, and the other thing that I really love as a person as focused as I am on lyrics, to hear people talk about what happened in the song, the story behind it, that sort of thing, I’m always fascinated to hear the stories behind the songs.

Bryant Liggett is a freelance writer and director of KDUR station. Contact him at

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