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Busking Across the U.S.: A Social Experiment and Testament to Human Kindness

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Pittsburgh, Pa. Photo by Brandon Clemens

An Emotionally Naked Performance

As a street performer, the question "What's it like busking?" is posed to me often, usually coming from curious bystanders and fellow musicians as they gauge whether or not they want to try it out for themselves.

And because this summer I took my street gig on the road to 20 cities across the states, I received this question tenfold in the aftermath -- although it was technically my second most asked question.

Imagining what it's like busking is somewhat of an easy task -- even if you're someone who cannot fathom the idea of performing in public.

Picture the busiest street corner, subway station or park you pass on your daily commute. Depending on the time of day, passersby are simultaneously ignoring their surroundings as they stare at their phones, while still managing to weave in and out of one another.

Imagine stopping at the most crowded point of the street or station and shouting "Hello!" at the top of your lungs.

Whether or not people react outright, most eyes make their way to you and then instantly dart away. But in this scenario, that doesn't stop you. You continue to shout greetings at these strangers while most make dogged attempts to appear as if they haven't heard you at all.

Occasionally, a few drifters stop by to chat -- they didn't realize it, but they were searching for someone to acknowledge them. They welcome your hellos. Some stretch the limits of small talk and ignore your subtle cues that you want the conversation to end. But all in all, you're grateful that someone was listening.

Mix all of those social elements with music and you have yourself a comparable experience to what it feels like performing in public spaces -- out of place, in everyone's way, sprinkled with a few lasting connections.

After playing in 20 cities this summer, I became quite comfortable with putting myself in socially uncomfortable situations. I performed among the best buskers in the country in New Orleans' French Quarter, to an antsy Fourth of July crowd in Austin, to the tourists and local weirdos on Hollywood Boulevard, was booted off of the Santa Monica boardwalk, snuck in a few rounds at Seattle's permit-required Pike Place Market, among many other crowds and backdrops.

The concept of marrying music with the road is one of the oldest unions since humans started manipulating sounds -- just as busking is one of the most ancient professions in recorded history.

Arguably the most embedded type of performance, buskers implants themselves among the bustling traffic, the irritated late interns and the homeless. The listeners don't initially go to the performer -- the performer goes to the listeners. And eventually, if you're lucky and good at what you do, the listeners will momentarily halt their day to enjoy a moment with you.

Safety? What About It?

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Busker in Balboa Park in San Diego. Photo by Meghan McDonald

In many ways, my busking trip was more of a social experiment than a test of my musical abilities. It was people who tipped me for my songs, and people -- some of whom were essentially strangers -- who hosted me all across the country.

One instance of this stranger-to-stranger trust that dumbfounded me time and time again was a family I found on Couchsurfers who opened up their home to me -- located in a trailer park in Idaho -- as they were away on vacation.

While I was thrilled to be so well received in a myriad of different settings, the "strangers" aspect was what had initially dimmed my prospects for this trip -- nearly leading me to throw in the towel before even taking off.

Which brings me to my first most frequently asked question regarding this trip: "What about your safety?" -- which was, humorously, the last concern on my mind when first planning my trip.

After announcing my summer plans, I received so many questions regarding my safety, it actually inched its way into my mind as a concern, initially deflating my excitement (especially when it was revealed to me that many feared for my safety because I was a "small woman traveling alone.")

But after traveling 8,450 miles (that's 177 hours, or about 7.3 full days, spent in transit), the most dangerous occurrence was a homeless woman following me in broad daylight for two hours in Atlanta, leaving me unscathed and loaded with a funny story.

The concept of strangers being something to instantly distrust was turned on its head as these strangers-turned-friends ended up being the "how" behind me being able to complete my venture.

Except for one instance, my room and board for the entire trip was provided by hosts. Without their hospitality, I wouldn't have completed my goal.

Which leads me wonder: What are we actually afraid of when we say we fear for our safety? Is a fear and obsession over safety a socially accepted way of closing ourselves off to other people and new experiences?

Although, to be fair, it's not a foolish question to ask -- "Are we safe on the road?" -- but more-so a question that never receives a complete answer.

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Vernal, Colorado. Photo by Meghan McDonald

The road's never-ending pivots can lead you down Montana's ink-black highways, where the star-dotted sky is shades brighter than the miles that stretch on so far that each minute seems identical to each hour. Or the road can weave you in between Colorado's mountains and fields, with colors so vivid, you have to double check that you're awake.

At the end of the day, though, the setting wasn't the truly defining layer of my trip. Nor were the countless tunes I sang to myself and to bystanders.

While the music may have brought the people to me, it was the people that inspired me to continue along for all those miles. Just as they continue to keep me plucking away at my guitar strings one note, one shy smile and one performance at a time.

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How Galleries are Adapting to Changing Times in the Art Market

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Middle-market galleries have faced serious competition in the global art market, from the small, alternative pop-up spaces to blue chip, mega galleries. A recent article in artnet News stated that "among the most sobering is the following reality check: the against-all-economic-odds gallery once begun with boundless ambition and maxed out credit cards is no more.... the era of undercapitalized, illiquid, labor-of-love galleries that rely mostly or exclusively on the primary market for sales is over."


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Leo Castelli Gallery in 1960 with works by
Frank Stella, Jasper Johns, Lee Bontecou, Edward Higgins, and Robert Rauschenberg




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All galleries, not just mid-market galleries, have had to adjust to the rapidly changing global art market by taking steps to reinvent themselves. No longer is the 'Leo Castelli' model, in which dealers nurture their represented artists' careers through stipends, studio space, and individual marketing strategies, the main focus. According to the TEFAF Art Market Report, 72% of private collectors are acquiring work from dealers (over any other art market professional) and the majority of these buyers are working with dealers selling at the mid-market level (from $500K - $10Million in sales). Galleries are taking into consideration that artists careers are just as important as cultivating collectors and using their expertise to place work in collections. While primary market sales still remain a profit stream, making up 48% of dealer sales in 2015 according to the TEFAF Art Market Report, dealers have found alternative ways to reach new collector bases and utilize their art and finance expertise to keep up with this changing market. Galleries are participating in more art fairs and marketing their available works online to make themselves more accessible to a new generation of collectors, while also facilitating private sales and using their expertise to advise more seasoned collectors on crafting curated, investment-worthy collections.




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Read Pt. 1 in our series: How Mid-Market Galleries are Shaking Up the Art World



To learn more about the depths of art investment, sign up for our Art Investment 101 newsletter: goo.gl/e5CnYK.

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This Is Not A Think Piece About Trump’s Sexual Assault Comments

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This piece by Maggie Ethridge originally appeared on The Establishment, a new multimedia site funded and run by women.


I’m writing this to you if you believe that Trump’s recently revealed remarks about touching women are — while possibly embarrassing and okay, yes, crude and rude—not actually harmful, and within the norm of private talk between men. I’m writing this to you if you believe Trump successfully defended himself when, at the debate, he dismissed his comments as “locker room talk.”


I grew up with you. I went to school with you. I spent Friday nights, Saturday nights, Sunday nights with you. I sat in class with you while you talked, I overheard your banter at crowded high school parties. You were some of my boyfriends. You were some of my teachers. You were some of the fathers I knew. You are often kind in your actions.


I’m not writing a “think piece” about you; I’m writing a piece to you, because I sincerely want you to understand why comments like those made by Trump are not “just words.” How they shape futures. How they most definitely have affected those you love.


Perhaps the story of my daughter will help you understand.


***


Lola is 14. She’s in her freshman year of high school. She’s going to school with the same group of girls and guys she’s known since kindergarten, as well as a bunch of new teens that she has never met. It’s a huge high school and there are a lot of new faces.


I’m biased, let’s acknowledge that, as her mother; she is exceptional all the same. She joined the drama club. She writes music. She deeply cares for people, and treats everyone with respect.



You were some of my boyfriends. You were some of my teachers. You were some of the fathers I knew.



Following a positive experience in middle school—where she had guy friends and girl friends, started the Equality Club, and felt confident and respected by all—Lola entered ninth grade with a bad case of the nerves, but also excited. She joined some clubs, started complaining about homework, and was trying to find her place in the social structures. It was bad, and good; some kids were nice, and some were assholes: life.


And then: She started playing basketball as part of P.E. The team that Lola is on is all guys with two girls. Lola went on the floor with grim determination. She doesn’t love sports, but she works hard and was ready to learn. But the guys won’t pass her the ball. They throw it over her head. They make jokes about her being a girl, jokes about how she should go home and do her nails. They laugh in her face, when they can get away with it.


And then: Lola was sitting in class with earbuds in, and the group of all guys she was working with started talking about a private Instagram board they are part of. This board is made up completely of naked photos of girls that Lola knows. The girls had sent the photos to their boyfriends. Their boyfriends had then posted the photos on this private account and rated the girl’s body parts. How hot are her tits? Is her ass saggy? They laugh at the girl’s bodies and criticize them. One of the boys has been Lola’s friend for a few years. When the account was shown to Lola, he glanced at her repeatedly as her face burned.


And then: A girl Lola has known since kindergarten, a very shy and quiet girl who is into athletics, turned a boy down one morning before school, nicely, after he asked her to a dance. He called her a bitch and changed the sign he wrote to ask her out to say BITCH in big letters instead of her name, and the school started talking about it, and the response was that this girl should have said yes, or thought about it, because everyone knew that this boy really, really liked her. The girl who turned down the boy went home after two periods of class.


And then: Lola heard boys that she has known as friends since childhood talk about who is fuckable and who is not. She knows that sexual desire is a part of life and that the teenage years are when it really kicks in for everyone, and that talking about sex, using slang words, is normal. But when she hears boys talking about “sloppy pussy sluts” who are “fuckable,” that is not about sexual desire at all. That is about guys grouping together, feeling united in looking at girls as body parts—vaginas, breasts, asses—while also making fun of them, believing that girls are really just there to have sex with and be judged.


On Friday, when this happened, her father and I called her into our room. The entire week before she had been an anxious, insecure bundle of poor moods, and we knew something was wrong. What is it? we’d asked, but she’d just shaken her head. This day, we sat her down and said, Please talk to us. So she opened up her mouth, and started to cry.



By my senior year of high school, over half of the girls I knew had been sexually assaulted. I am one of them.



“The boys are awful,” she wept. “They don’t actually like girls; they just use them to look good. They think it’s okay to treat us like shit, and no one is doing anything. My guy friends are cowards; they won’t speak up and say anything because they don’t want to be seen as uncool. And every time I say something to speak up, everyone tells me to tone it down.”


Chill out.


Don’t make such a big deal out of it.


Take a Xanax.


These are things Lola has been told in high school when she speaks out against these experiences.


By my senior year of high school, over half of the girls I knew had been sexually assaulted. I am one of them. I was assaulted four times by four different guys by the time I graduated. Once, when I had my leg in a cast up to my thigh and was unable to walk. Once, by a guy I really liked; suddenly, in the middle of a conversation, with no warning, he reached under my skirt and pulled my underwear aside and, as Trump says, grabbed my pussy. I went freezing cold. I started to cry. I asked him very quietly—I was afraid he was going to rape me and I didn’t want to anger him—to please stop. And he did, and he walked away, and I drove home and cried in the shower.


I knew many girls who were raped in their own bedrooms, in bathrooms, in backyards, in cars, in classrooms. I knew a girl who was raped by four members of the football team. She later tried to kill her mother with a knife and was institutionalized. My best friend was raped by a friend of hers at a party after he followed her into a room.


To those who defend Trump, who think what he said are just words, I implore you to look at the connection between the kind of comments he made and the kind of comments young men feel they can make—about girls playing basketball, about girls who reject them, about girls they see as fuckable objects. Consider how kids look up to those with authority, including not only Trump, but you, who’s defending what he’s said. Consider how such comments can enable not only men assaulting women, but teenage boys assaulting girls. Consider the fact that 44% of sexual assault survivors are under the age of 18. Consider how, as adults, you set an example.


Then ask yourself: Is this the example you want to be setting?


Thank you for reading.


*Lola gave me permission to use her experiences and name.


Other recent stories include:


Spanking Is Essential To My Mental Health


Why Demanding That Rape Victims Report Assault Isn’t Helpful


Why I’m Scared Of White Women


What Being A Phone Sex Operator Taught Me About Sexism And Racism


How ‘The Accountant’ Victimizes The Autistic Community

Need help? Visit RAINN’s National Sexual Assault Online Hotline or the National Sexual Violence Resource Center’s website.

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Sean Hayes Ineligible and Other Tony Awards Takeaways

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Last week the Tony Awards Administration Committee met for the first time this season and we received a release saying that the eligibility of Paramour and Cats was "confirmed" and that the eligibility of the two productions "are consistent with opening night billing."

That seems relatively standard but there were some underlying issues not fleshed out in the release:
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1) Actors from An Act of God and Motown, both of which opened earlier this season, will not be eligible

There is a rule that says that in order to be considered for Best Revival a show must have "not had a professional performance in the Borough of Manhattan at any time during the three years immediately preceding the Eligibility Date." So it's not surprising that neither show is eligible for a Best Revival nomination.

However, the Tony rules also state that even if a show isn't eligible, elements of the production that do not "substantially duplicate any prior presentation of the play or musical" can be eligible. So new designers, choreographers and directors are obviously eligible. This rule is also interpreted to allow new actors to be eligible even if the production is a carbon copy of the original production. (And even though I've questioned this in the past because replacement actors are not eligible.)

With regards to An Act of God and Motown, a Tony Award spokesperson told me: "Tony eligibility requirements were not performed by the productions, therefore the actors are not eligible." Tony eligibility requirements involve inviting all the voters "in a timely manner and free of charge." Usually when I hear a production isn't complying with Tony requirements, this is what they are not complying with--they aren't inviting voters. This often happens when the engagement is super-short or when a show closes very quickly (as Motown did). Why An Act of God chose not to invite voters is a bigger question mark. I assume the producers just didn't want to give away all of those free tickets. The show itself wouldn't have been eligible--just the actors (which, in addition to Hayes, were James Gleason and David Josefsberg). No actor received a nomination for the original production, despite Jim Parsons' acclaimed performance. So it's possible producers just did a cost/benefit analysis this time around. It's also possible no one realized Hayes could be nominated. A production spokesperson would not comment on the reasoning behind the decision not to invite Tony voters.

2) None of the actors in Paramour are eligible in lead categories

There is no way that Jeremy Kushnier and Ruby Lewis should not be eligible as leads. However they are not above-the-title and so they are eligible as featured performers. They won't be nominated (sorry) and wouldn't be in any category, but that isn't the point. The issue is that people should be eligible in the category that makes sense.

Likely the Paramour producers didn't petition for their actors to be moved up and so the Tony Awards Administration Committee just didn't do it. But the Tony Awards Administration Committee can act sua sponte and it should have here.

3) Andy Blankenbuehler's Cats choreography is not Tony eligible

While some sites put up solely the Tony press release, BroadwayWorld confirmed Michael Riedel's earlier report that Blankenbuehler, whose work was "based on the original choreography by Gillian Lynne," would not be eligible.

This goes back to that whole "substantially duplicate" thing. If you recreate staging--either direction or choreography--then you are not eligible if it "substantially duplicates" the original. Basically you can't be nominated if someone was already eligible for doing something very much the same. These standards are extremely hard to apply. In the case of a score, you put down what percentage is new. In the case of everything else, it's harder. Discretion, discretion, discretion.

I was personally surprised when Christopher Gattelli was nominated for The King and I. His work was based on the original choreography by Jerome Robbins and I didn't think it was different enough to warrant eligibility. There was a section of a beautiful LCT Review that discussed what he did--and he did things, but I didn't think it was enough. He was possibly helped by the fact that the production was very new and different. This is a production with the same director and designers (all not eligible). Blankenbuehler was likely hurt by the fact that this Cats looks overall like the Cats we all remember.

These rules are hard to apply even with things that are percentage based--remember the year composer Jason Robert Brown was ruled ineligible for Urban Cowboy even though he should have been eligible. That decision was reconsidered and he later received a nomination. When the application of the rules requires more judgment, the analysis becomes even messier. Santo Loquasto received a nomination for his Ragtime costumes before people (with me leading the charge) raised concerns because the majority of the costumes were recycled from the original production.

This year the Administration Committee's discretion leaned against Blankenbuehler, a two-time winner, even though it erred in favor of others in the past. It happens. Blankenbuehler definitely made changes to the original choreography--original production press agent Michael Borowski detailed them for me and they include, in addition to new passages here and there, reimagined takes on the choreography in "Bustopher Jones," "The Rum Tum Tugger" and "Mr. Mistoffelees." However whether those should have been enough for eligibility? I have no opinion. It's a tough call. I don't know enough to make it myself.

Update, 6:30pm: This article was updated to account for the fact that a production spokesperson said the production will not comment on why An Act of God did not invite Tony voters.

If you want to contact me, you can find me on Twitter @CaraJoyDavid. I also welcome emails at carajoy@gmail.com. Please do not send me a Facebook message if we are not friends on Facebook. I will not see it.

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Runaway and Plan a Long Unscheduled Day

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Tom Proutt and Emily Gary

Emily Gary and Tom Proutt are composers with a passion for good music and good literature. Amongst their many musical pursuits these busy musicians, performing as Tom and Emily, have opened for Jimmy Dale Gilmore, Richard Shindell, Carrie Newcomer and Slaid Cleaves. They've also spent the past 13 years composing music for some magnificent lullaby poems that were written by well-known children's author Margaret Wise Brown, that were discovered after her death in an old trunk in a barn in Vermont belonging to her sister Roberta in 1990. Most of us are familiar with Margaret Wise Brown being the author of the bestselling children's books Goodnight Moon and The Runaway Bunny. Tom and Emily wrote the music for 2 albums of 12 songs each as a complement to 2 magnificently illustrated books of Margaret Wise Brown's lullaby songs. The first book is called Goodnight Songs, and the second, Goodnight Songs. A Celebration of the Seasons.


Winter Adventure. Performed by Tom Proutt and Emily Gary


Goodnight Songs, A Celebration of the Seasons is a full body experience. It combines, music, literature, and illustration with glorious results. This collection also has a fabulous back story full of family connections that add a lot of genuineness. This tribute to the work of Margaret Wise Brown, is a treat well worth sampling.

A child's imagination is vivid and a beautiful thing to witness. Margaret Wise Brown knew how to unbridle children and help them conjure memorable images of nature. With lines like, "Darkness came before the night, the air grew cold enough to bite", from her poem, Fall of the Year, she artfully portrays a child's response to the changing of seasons. No wonder the illustrators of this great collection had fun putting their artistic touches on poems like the Cherry Tree. "I Lie on the ground, snow falls on my head, and I dream of the day when the cherries were red."
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Illustration by Elly Mackay


As a mother of 3 boys and a former elementary school music teacher, it makes perfect sense that Emily Gary might become interested in Margaret Wise Brown. She was born the youngest of 4 children. As a2016-10-15-1476568747-3100276-djs_2715avin1.jpg child, music was her refuge. Her 2 older brothers shared their records and turntable with her and exposed her to a variety of music. Her older brother Nap sat her down and explained the lyrics of American Pie to her, whilst Loren her other brother introduced her to strong female vocalists and the music of John Prine. Music has always been a huge part of Emily's life. In college she had a radio show, and today she's a DJ at WTJU Folk Radio in Charlottesville Va. "Between radio and my involvement with the Grammy® community and performing with Tom Proutt as Tom and Emily," explains Emily, "I'm never left wanting for new music. I remember as a young girl my brother Nap first played Warren Zevon's Excitable Boy for me. What a dark song, but I love that he shared it with me. It was my older brother expanding my horizons." All of these influences make Emily Gary the musician she is today.

Emily earned her undergraduate degree in music and went on to earn her master's degree in social work. "It was always my intention to work with children in that capacity, as a social worker," said Emily in a recent interview. "I actually never intended to teach or direct a children's choir but both positions fell into my lap. I was singing in the adult choir at a church when the youth choir director resigned. I was offered that position. I resigned from that position with the birth of my third son and a move further away. The teaching position was similar in that the elementary school where my youngest went to school had such a large enrollment that a part time music teacher position became available. I found I did really enjoy working with the kids. We had fun making music, having performances, and experimenting with different instruments." The stage for her future career as a bass player, vocalist and composer was set.

Tom Proutt started his career as a musician and songwriter early on, learning piano and ukulele at age 2016-10-16-1476614842-2988606-tom.jpg10, then picking up guitar a few years later, and writing his first songs at 14, and playing his first show in Baltimore at age 15. Tom is an accomplished guitar player who has been playing for over 40 years. He divides his time writing songs, playing music with Tom & Emily, and performing with the group, Keith Morris and The Crooked Numbers. Proutt signed on with Morris in 2007, playing guitar in support of Morris's "Songs from Candyapolis," and is featured in full force on Morris' release, "Love Wounds and Mars," Keith's newest release, 2016, is The Dirty Gospel and is also reviewed in No Depression(read review)

When the band plays live, they often include versions of songs written by Proutt, as well as songs co-written by Proutt and Morris. "Tom's guitar work is exquisite," Keith Morris says. "He brings a songwriter's sensibility to the guitar, and adds integral riffs and signature touches to the songs. He's also a top-shelf songwriter on his own." Tom first became a fan of Margaret Wise Brown as a parent. "I read Runaway Bunny, The Big Red Barn, Little Fur Family and Goodnight Moon to my kids when they were young." explained Tom during our interview. Proutt lives on the Rockfish river only two miles from the original home of television's Walton Family. He enjoys spending his nights near a wood stove, and playing music with his talented and accomplished children, Tommy and Emily.

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Illustration by Leo Espinosa


Emily Gary and Tom Proutt officially met in the spring of 2003. "We had friends in common and I knew of him a bit musically," says Emily "Tom was just finishing up recording a solo CD, Farm Jazz, and invited me to come sing harmony on two cuts. Really very early on I invited him to look at Margaret Wise Brown material with me. This was the summer of 2003. Over the course of playing around with those possibilities, I started learning more of his songs from Farm Jazz and other songs he had written. I believe at that point Tom wasn't interested in being a solo artist and I think we both really enjoyed the sound of two voices. We played our first show together in October, 2003 and were surprised to find later that a reviewer was in the audience who later wrote a sweet review acknowledging our work as a duo. In 2006, we released a duo CD, Pancake Mamma and continued playing as a duo and with other groups. We kept looking through the Margaret Wise Brown material."

2016-10-16-1476612834-3190367-goodnightsongscover.jpgAmy Gary, Emily's sister in law, is the editor of The Margaret Wise Brown estate. In 1990 she was in Vermont visiting Margaret's sister Roberta, and while rummaging through some old dusty trunks in her barn, discovered some manuscripts, poems and songs that turned out to be unpublished works by Margaret Wise Brown. Some of that treasure trove became part of a (so far) 2 book series, published by Sterling Children's Books called Goodnight Songs, and Goodnight Songs. A Celebration of the Seasons. Emily and Tom composed the music for the 12 lullaby songs that accompany each book. In 2013 a book/CD deal became official and Sterling Publishing became involved. Goodnight Songs2016-10-16-1476613019-1440810-celebrationoftheseasons_album_cover_jpg.jpg was released in March 2014, and there was much great press as this was a literary coup to have previously unpublished work by MWB released. It hit #4 on the New York Times best seller list for children's picture books. "We were part of the VA Festival of the Book and began doing family shows at libraries and schools." explains Emily. "In August of 2015, Goodnight Songs, A Celebration of the Seasons was released. We were part of the 2015 VA Festival of the Book. Sterling Publishing did a fantastic job of getting the book/CD out into the book world."

Tom and Emily have also created shows that they call 'pajama parties' that are performed at 6:30pm. Kids are invited to wear pajamas, and bring stuffed animals. "I particularly like when we've done this show at vineyards." says Emily. "Parents drink wine and visit while Tom and I play music for parents and the kids. In my opinion, this works well because I believe our music appeals to all ages. Parents often are familiar with Goodnight Moon and The Runaway Bunny so I've found that they are engaged with the music and the story of her life. We tailor our shows to the audience and the venue."


Snowfall. Performed by Tom Proutt and Emily Gary


Tom Proutt and Emily Gary use their musical talents to help children "listen" to Nature. They understand what Margaret Wise Brown was doing with her lyrics. She teases and tempts children (and their parents) to get out and do what they adore to do. Children adore to explore and their sense of adventure is triggered by the simplest things. Children have the good sense to look up and feel the snowflakes on their face and they have the sense to race toward the sea when it's hot.

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Margaret Wise Brown, nick-named "Brownie" was a spirited young lady. She grew up in Long Island, New York and then attended boarding school in Switzerland in 1923. She was the granddaughter of Benjamin Gratz Brown who was Governor of Missouri and later the United States Vice Presidential candidate in 1872. What an election that was! Although, Ulysses S. Grant won the day, there was much ado about preservation of the Union, Nominees passing away during the race, and the first woman on the ballot, Victoria Woodhall, who couldn't even vote for herself (because women couldn't vote yet in America.) Margaret's father, Robert Bruce Brown, no doubt had great stories to tell the young Margaret about her grandfather. Her grandfather attended Yale Law School and graduated in 1847. He was Editor of the Missouri Democrat from 1854-1859. So, young Margaret had a lot to live up to as a writer, and she did just that. Margaret Wise Brown published nearly 100 books in 15 years. A prolific writer, she had a great passion for nature. Amy Gary was correct, in her forward of the book "A Celebration of Seasons". when she said, " Margaret would be delighted to know that children might be inspired to sit under a tree and listen more intently to the buzzing of a bee."

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Illustration by Satoe Tone


Amy Gary is an accomplished publisher and the Editor of the Margaret Wise Brown Estate and tells an incredible story of meeting with Margaret's sister Roberta in 1990, and discovering a trunk of unpublished manuscripts that she had saved for many years. She's also the sister-in -law of Emily Gary and friend of Tom Proutt. This family and friend team had personal reasons for wanting this project to come out so well. Emily speaks of reading Margaret Wise Brown's books to her 3 children when they were small. Also, Emily was greatly influenced in her musical tastes growing up by her late brother Nap. He has a very special whistling track on "A Kitten's Dream" that they all treasure. "So, it truly means the world to me that his whistling debut is on A Celebration of the Seasons," Emily said in our recent interview. Emily and Tom summoned all of their musical expertise to make the lyrics come to life. Inspired and influenced by the traditional melodies of Virginia and the Appalachian regions, one can really hear Tom and Emily's passion for the lyrics and the love for their music in the beautifully blended songs that comprise A Celebration of the Seasons

Margaret Wise Brown lived a short life, (1910-1952) but she lived a life of quality with a passion for literature. The exquisite way in which Tom Proutt and Emily Gary have interpreted her lullabies is a tribute to their musicianship, and their understanding of the importance of bringing great literature back to a new generation of children, so they too can ramble through a field looking at wildflowers, play in the snow, or listen to the wind, and soon, very soon runaway and plan a long unscheduled day.

Tom Proutt and Emily Gary recorded A Celebration of the Seasons at White Star Sound recorded by Stewart Myers and Mastered by Fred Kevorkian. Their accompanying musicians and vocalists were: Matty Metcalf -accordion & penny whistle Juliette Gunter-vocals Will McCormick-vocals Stuart Gunter-percussion Andy Thacker-mandolin Charles Arthur-piano JC Kuhl-saxophone Jeff Romano-harmonica Charlie Bell-pedal steel Nap Gary-whistle Stewart Myers-flute Emily Gary-bass and vocals Tom Proutt-guitars and vocals

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Today is Different

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Artist Interview: Matthias Tanzmann - Momentum

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From the opening tropical infused soundscapes of Matthias Tanzmann's Momentum, you become quickly aware of the fact that you are not only in the hands of someone who knows what they're doing, but also has paid meticulous attention to detail. Tanzmann's first album in eight years is a collection of ten tracks that he describes as "stuff to listen to at home, stuff I like to listen to away from the club." And yet there are tracks such as "Mirage" and "Frenzy," that would work on many a dancefloor. Having been involved in the techno and club scene in his hometown of Leipzig, Germany since the 1990's, Matthias Tanzmann exudes both calm and focus, complimented by a good-natured and hearty laugh. I spoke with him following his last gig of the summer in Ibiza, and his first gig ever in Panama (with Hot Since 82).

Tell me about your new album, Momentum.
It's my second album. The first one was eight years ago. I hadn't thought about doing an album, but last year I had the fifteenth anniversary tour with my label (Moon Harbour), and after the tour I came to the point to do an album. I wanted to do something different than my last EP's, which were mostly for the dance floor.

How did the process of putting together the album begin?
I had ideas, musical scribbles on this that date back five or six years. I went through all those things that were in a similar mood, this sort of laid back sound. I didn't really aim to the dance floor. The first track on the album is something I recorded in Thailand. I went through all the material and started putting it together, from February until end of March.

Why the title Momentum?
Momentum. One side is the physical. It has this energy, the energy of something moving. I also just like the word.

What is your producing process like?
Sometimes when I start, I start working on the analog stuff, and sometimes I start to play with the synthesizers, but most stuff I edit in the computer. I bought this analog mixer from the 80's and for the first time, I used this mixer to mix down everything. Sometimes I do productions digitally, but with that album I focused on spending time. I was using analog synths, which was really enjoyable.

What is one of your favorite remixes that you've done? How do approach working on a remix differently?
Marlow -Movin feat Dehlia
Cle - Nomads

I usually do remixes for the dance floor. The remix is different because you have the frame of the remix parts you're working inside.

What is the electronic scene in Leipzig like?
I started making music in the 90's and Leipzig is very close to Berlin. It developed its own musical scene. There used to be a time when Leipzig was known in Germany for having a really big deep house scene. There is also the second oldest club in Germany, Distillery (the oldest is Tresor in Berlin).

There is a lot of new stuff happening, because now Leipzig has been very attractive for artists and students. Like Berlin fifteen years ago, because it hasmany cheap places to rent and spaces and ateliers for artists to work.

How has the electronic scene changed in Germany?
When I started getting interested in the electronic scene around 15/16, it was a very very underground and niche thing. Nowadays if you say techno party, everyone knows it. It is kind of established in culture. Everything that comes from the underground will eventually be accepted by the mainstream in some way.

What makes your dj sets so special?
I've been very much influenced by my residency at Circoloco. Ibiza, when I got there ten years ago, pushed me towards this moody, organic, tech house thing. For me it makes me want to dance myself.

Was there a track that you played out quite a bit this summer?
Andrea Oliva - Scream

What is it about dance music that is so special?
People naturally want to have fun and go out and be together and be social. Partying is the perfect setting to do that. It puts people in the best situation to interact and have a good time.

Any producers or artists that inspire you?
Emanuel Satie. Actually he just won best producer at the 2016 DJ awards. He's releasing on my label and I play all of his stuff.

Any advice for aspiring producers?
Find out what you really want to do, what you really like and just go for it. Go step by step. If you dream to be the next Tiesto, define smaller steps on the way there, but everything is possible. You have to be certain of what you love. Why you do it. If you just want to be rich and have the girls, it's not the right thing.

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For more information visit - www.matthiastanzmann.com

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Cats on Broadway: as Bizarre and Beloved as Ever

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For those of you who don't know, Cats: The Musical is back on Broadway. That's right, Andrew Lloyd Webber's 1982 smash hit classic is back, this time at the Neil Simon Theatre, directed by Trevor Nunn. Cats has always been a divisive musical: people either absolutely love it and are super fans, or can't stand it and enjoy mocking its existence.  To most, Cats is a very strange piece of theater and an even stranger phenomenon: how was is once the longest running musical on Broadway and one of the most internationally performed and translated musicals ever?

People who have not seen Cats often have a lot of questions about the musical: are they all really cats? Do they walk on all fours? Is there a plot? Are there actual characters? Why are they reviving it? Who wants to see the show again? Do they still wear those awful bodysuit unitard costumes?

To answer these popular inquiries: yes they are cats and they walk on two legs, but sometimes crawl. Surprisingly, there is a plot and there are very specific characters, some you'll even come to love. Andy Huntingon Jones as Munkustrap, Jess LeProtto as Mungojerrie, and especially Tyler Hanes as Rum Tum Tugger (who consistently manages to steal the show, even in songs he is not in) are give very memorable and enjoyable performances, standing out from ensemble of acro-cats, who are clearly more dancers than actors.

No one is entirely sure why Cats is being revived, but box office numbers and sold out performances prove that it was clearly a good decision. Old devotees flock to see it and bring their children, skeptical new people go out of curiosity, some go to see how weird it will be, other go and sing alone, some even show up in vintage Cats merchandise.

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Cats is an odd, weird, rock musical that mixers electric guitar, drums, and synthesizer with flute and violin solos. It has songs that are famous as they are infamous, both anthems to fans and never-ending jokes to critics. Highlights from the score include: "Jellicle Songs for Jellicle Cats," the opening number which will forever be known as having the oddest lyrics in all of musical theater, "Magical Mister Mistoffelees," complete with flying cats, magic tricks, and a costume full of LED lights, and the canonical classic, "Memory" this time belted out by the legendary Leona Lewis. Lewis plays Grizabella and is making her Broadway debut--although her vocals are strong, her acting is weak and lack of experience is evident.

Yes, the ensemble members are in full body suits, leg warmers, wigs, and massive amounts of cat makeup--although the costumes, hair, and makeup are odd, the designer, John Napier, obviously has a lot of work to do. The choreography by Andy Blankenbuehler is is strange mix of feline and Fosse, but is executed quite impressively by the ensemble.  The set, also by Napier, is massively-scale trash the continues past the stage and into the side boxes and balcony, giving an impressive sense of immersion and depth. The entire production plays with scale, often in hilarious (albeit inconsistent) ways.

Cats is probably the weirdest musical you will ever see--but that being said you should still go see it. Watching this musical is a thrilling and unique experience, nothing like you've ever scene before. It is far rock concert, part laser light show, part Fosse dance piece, part pet store, part musical ballad, part allegory (maybe?). Regardless of what this musical is or isn't, watching it is very enjoyable for the sole reason that is so interesting to witness something so odd. The entire time you sit there thinking "what is happening right now?" and "how can they possibly keep this up for a two hour musical?" But somehow, they do. No matter how bizarre Cats is, it will always be beloved, so don't underestimate this feline curiosity, it is certainly worth seeing.

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The Oak Tree and the Thimble

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The following quotations were found outside the entrance to Manhattan Mini Storage on l07th Street between Columbus and Amsterdam: "Raising a baby in a New York City apartment is like growing an oak tree in a thimble," "Love means never having to say 'I'm sorry my kickball trophy fell on the baby again,'" "material possessions won't make you happy; maybe they will." One wonders about the CVs of the writers of these aphorisms, as they look like the kind of thing you generally find in a fortune cookie. Do the Chinese bakeries which produce adages run training and extern programs to demonstrate how koan writing can be used in other venues and are the sayings adorning Manhattan Mini Storage a product of this? Naturally these phrases also bear some resemblance to haiku and they're not the kinds of things you usually associate with a facility where the mundane business of storing things is the matter at hand. Storage facilities are like maximum security prisons for personal items, Their stolid brick exteriors often look like them so the presence of a simile, in this case the invocation of the oak tree and the thimble (reminiscent of the serendipitous meeting of the sewing machine and umbrella on a dissecting table in Lautrement's definition of surrealism) humanizes an antiseptic atmosphere with the presence of poetry. We've seen poetry in in the subways, dirty limericks on the doors of bathroom stalls and now here they're decorating a penitentiary for soon to be forgotten items.















{This was originally posted to The Screaming Pope, Francis Levy's blog of rants and reactions to contemporary politics, art and culture}










photograph:Pavel Krok

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A Historic Event Today - the Debut of the Octobass with the Montreal Symphony

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Double bassist Eric Chappel with Montreal Symphony's new octobass.
Photo: Montreal Symphony Orchestra


By Mark McLaren, ZEALnyc Editor in Chief, October 20, 2016

As classical music organizations tighten budgets, the Montreal Symphony has been spending like, well, a drunken orchestra. In 2011 it moved into a shiny new concert hall, a hall on design tables for decades. In 2014 it inaugurated a $4 million concert organ and this fall Montreal opened its season featuring its newly-formed Montreal Symphony Chorus. What's left?

An octobass, it seems. Today the Montreal Symphony makes history as the first orchestra in over 100 years to permanently add a new instrument to its ranks. The octobass, standing over twelve feet tall and 90% larger than a standard double bass, was first built in Paris in 1850 and can reach notes a full octave below the lowest of a standard piano. The instrument fell out of use at the turn of the twentieth century, but not before a number of French and German composers had adopted it.

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Maestro Kent Nagano; photo courtesy of Montreal Symphony


ZEALnyc speaks with Montreal Symphony's music director Kent Nagano about the octobass and its journey from concept to reality.

MM: It looks like your next big initiative, or what looks to be a big inititiave, is the introduction of the octobass.

KN: (Laughs) Yes.

MM: Is that fair?

KN: Well, it is a huge dream, it is something that I've been working on. I was provoked by one of my very scholarly contrabass players, who had been doing some independent scholarly research. He found out about the octobass and discovered that it was something that was not only a curiousity, but was something that was prominent in Hector Berlioz's time. It was present and used in romantic literature and in later-romantic literature, to the point where Hector Berlioz includes it in his treatise of orchestration.

We do quite a bit of historical research - quite a bit of scholastic study in conjunction with many members of the orchestra. So this contrabassist convinced me that we should look towards period performance practice. I became convinced through my colleague that it was important to experience what the octobass sounded like if one wants to get close to the performance practice of the time.

The problem, as you know, is that the octobass doesn't really exist. There is one main surviving one I think now, and a secondary surviving sample, and they are in museums. There is one running around that is being played, but it is privately owned. So it was nearly impossible to figure out how that could be done unless one commissioned a study and a replica to be made. And it was a very, very expensive endeavor.

And so we have been working on this project for seven years [laughs]. Finally, everything came together in a very quick way. A major sponsor, a friend of the orchestra, stepped forward fascinated by the venture. Our sponsor was equally curious as to what it would sound like, an instrument that apparently has a huge projection and is able, as a single instrument, to be felt and to be heard within the context of a very large romantic orchestra.

To make the story short, we succeeded, together with the help of this great philanthropist from the community, in securing an octobass for the orchestra which we will inagurate in October. And we didn't think it would be of particular interest to anyone, except to us in Montreal and Quebec. But surprisingly, a lot of people have suddenly become aware of what we are doing and also wants to hear what it will bring to the sonority of an orchestra - to try to understand what orchestras sounded like in the nineteenth century.

So, yes you're right, it is a major initiaive. We are inaguarating it with Ein Helden Leben by Richard Strauss, and plan to use it for most of the important romantic literature where octobass might have been used.

MM: And so those parts would be extrapolated...this would have been used across the board with romantic and late-romantic rep you are suggesting?

KN: Yes, it was meant to double the bass line, in a kind of ad libitum fashion. From what we have read, it was prominent in literature that was written from the 1850s up until the turn of the century. So, since Berlioz has written most about the octobass, we'll be applying it mostly for romantic French music. But we did want to try it out with Ein Helden Leben because apparently it did make its way to Germany as well.

MM; Fascinating. So, I think we were in Boston at the same time in the early 80's. And as we are talking about late-romantic literature, Seiji Ozawa is probably held up as a substantial conductor of that rep -- a proponate of that literature. Did that experience inform your interest in this period?

KN: Well, of course, the years of the Boston Symphony were very important years for me and formative years as well. But in terms of the octobass specifically, I would point to my Paris years with Olivier Messiaen. Through our work together, I spent an unusual amount of time at the Bibliotecque Nacional and at a lot of the research libraries in Paris. And I think that really wetted my appetite and curiosity for specific style and orchestra color; how that is linked with specific cultural traditions, and how a composer, in this case Olivier Messiaen, would use orchestration skills to try to bring out or highlight individual characteristics of his compositional voice. So that period in Paris when I was living there and doing quite a bit of library research, I would say that that had as much as anything to do with my fascination with this whole project. It really launched a never-ending curiousity to try to get closer and closer to what composers had in mind.

More information on Montreal Symphony Orchestra can be found here.

Mark McLaren, ZEALnyc's Editor in Chief, writes frequently on classical music and theater.

Read more from ZEALnyc:

Kent Nagano Discusses Ten Years with Montreal Symphony

Northern Exposure -- A Captivating Arts and Cultural Season This Fall in Canada

The Metropolitan Opera's General Manager Peter Gelb in an Exclusive Three-part Interview with ZEALnyc

Classical Music Sizzles this Season -- Read ZEALnyc's Picks for What's HOT!

For all the news on New York City art and culture, visit ZEALnyc's Front Page.

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Jellyfish and Sharks and Octopi, Oh My! Street Murals in Tahiti's ONO'U Festival

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Who doesn't want to go see street artists paint murals in Tahiti?

Known more for her NYC graffiti train photography of the 1970s and 1980s, Martha Cooper travels the globe these days in pursuit of street art festivals. Luckily, many cities have one, and the ONO'U Festival has captured her imagination once again.

So lucky us! Our senior reporter on the ground is the quick-witted, eagle-eyed Martha Cooper, who shares with Huffpost readers her fresh shots of the new action here in paradise. She also shares with us some of her personal observations of the artists and the surrounding action, which we elaborate on here for you.

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Bordalo II. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

We start of with Martha's favorite piece, an octopus made with garbage by the street artist named Bordalo. "He's a genius! He took the most unlikely pieces of plastic detritus from the recycling center and speedily transformed them into the octopus on the front of what will be Papeete's street art museum and gallery," she says. "Cleverly he used the sawed off tops of spray cans as the suckers on the tentacles."

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Bordalo II. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

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Bordalo II. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

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Bordalo II. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

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Kalaouf at work on his mural. ONO'U Festival 2016. Raiatea, Tahiti. (photo © Martha Cooper)

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Okuda at work on his mural. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

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Okuda taking a break. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

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SETH. ONO'U Festival 2016. Raiatea, Tahiti. (photo © Martha Cooper)

Seth's Raiatea mural is of a female mermaid-octopus holding a ship. "Her tentacles represent the other islands," says Martha.

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Mast's sketch for his mural. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

MAST was channeling Brooklyn hard in Tahiti, with this shout out to the honeys back home, the subway at Franklin Avenue, and he reconfigured the train lines to reflect the letters of his crew - The Great Escape (TGE).

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Mast in front of his finished wall. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

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Peeta. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

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Hoxxoh. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)


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Marko at work on his mural. ONO'U Festival 2016. Raiatea, Tahiti. (photo © Martha Cooper)


Paris-based Marko 93 was one of the most social and generous of the artists, says Martha.
"His jaguars are colorful crowd-pleasers," she says. "Marko had a very good rapport with the locals and cheerfully signed dozens of T-shirts for kids who took a graffiti workshop."

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Marko with fans. ONO'U Festival 2016. Raiatea, Tahiti. (photo © Martha Cooper)



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Marko enjoying the locals, and vise versa. ONO'U Festival 2016. Raiatea, Tahiti. (photo © Martha Cooper)


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NIKO & INKIE. ONO'U Festival 2016. Raiatea, Tahiti. (photo © Martha Cooper)


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Jobs & Abuzz. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

"Tribal Pursuit" is the name of this wall by Tahitians Jobs and Abuzz, named after the board game Trivial Pursuit. "The black lines are the Maquesa's cross," Martha says, and "the designs are the contradictions of old and modern traditions from Polynesia such as the 'head breaker' a traditional weapon and tiki, the sea animal because they are surrounded by water." The skull, of course, "represents the atomic tests."

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Leon Keer. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

The master Leon Keer is pictured here with his wife assisting. Martha says that these figures are "Painting of robots arriving from the harbor." As usual, Mr. Keer's work blows your mind when it is completed and you are standing in just the right location.

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Leon Keer. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

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Adnate. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

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Phat1 AKA Charles at work on his mural. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

"Charles is painting an Omamao bird endemic of Tahiti," says Martha, "and it is listed as a critically endangered species."

Why do you hear this same story in whatever part of the world you are in today? More importantly, are you doing anything about it?

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Phat1 AKA Charles with help from Lady Diva AKA Jeanine Williams. ONO'U Festival 2016. Tahiti. (photo © Martha Cooper)

After the mural was finished, Martha says there was a blessing of the mural. Above you can see the minister in the photo above performing the blessing.

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Viktoria Modesta: Not Your Grandfather's Shakespeare Interpreter

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It's been 400 years since William Shakespeare passed away.

So how do you bring him back to life?

If you're the British Council, charged with finding a 21st century audience for a 16th century playwright, you call Viktoria Modesta.

Modesta might not be the first person you think of when reinterpreting the Bard, but that's the genius of the choice.

She calls herself the "world's first bionic popstar." The world sees her as a singer, songwriter, performance artist, and model.

A decade ago, Modesta had one leg amputated below the knee, after a doctor's negligence at birth forced her to spend much of her childhood going in and out of hospitals.

Modesta's brilliance as a storyteller in all media made her a natural choice to bring Shakespeare to life.

"When the British Council approached me," Modesta told Huff Post, "I wasn't very familiar with Shakespeare myself, and I was thinking, this is definitely going to be a challenge.

"It took me quite a long time to understand how I could reinterpret such a vibrant, memorable, storytelling text that has literally lived on and on and on."

Modesta connected most powerfully with Midsummer Night's Dream, she says. She devised the piece with director Sing J. Lee.

"Working with an artist like Viktoria was refreshing and exciting," Lee says. "The themes we were playing with are quite bold for an artist to address, scrutinizing and opening conversations about infatuation with a presentation of oneself, losing yourself in an alter ego -- to many artists, this can be too close to home, but with Viktoria she broke that wall down."

Modesta agrees.

"It offers such a wonderful parallel to the hyper-reality world that I'm trying to create with my current work," she says. "It has the magic and the essence of different creatures and otherworldliness and non-human life, but you still have these wonderful human interactions."

The challenge for Modesta was making Shakespeare personal. She realized that until now, "everyone keeps reusing the text in a modern setting, but no one is trying to really redevelop the story and retell it from a more modern perspective."

Modesta realized that the story elements of forbidden love and hypnodentity related to the internet age, where people present themselves online however they see fit and you're never really sure who is on the other end of the conversation.

In Modesta's retelling, Oberon is concerned that Titania is becoming self-obsessed and running away with an illusion she's created for herself.

The question became how you could incorporate virtual reality storytelling into that basic theme.

"In the video," Modesta says, she goes "into the virtual reality, hyper-reality world, and am faced with this other potential identity of myself. We're doing a courting dance where we essentially get so close and the obsession grows so strong that there is not just repulsion but also a kind of war. You know how crazy that can be."

The video she created explores modern issues like tech fashion--her outfit is 3D printed--and also concepts of gender and identity.

Also in the video, Shakespeare character Bottom becomes a "hyper-reality, idolized, weird, digital representation of yourself, the unhealthy relationship that can sometimes form with hidden parts of our personality."

Modesta found herself thinking a lot about what Shakespeare meant to his times.
"He was such a trendsetter," she says. "He created a lot of the language we use today and he was very much ahead of his time. If he were still alive, he would absolutely be a futurist. He's trying to capture human emotions, head into the future, and create new things."

So what exactly has Modesta created?

"Some of the reaction," she says, "has been, is it a movie? A music video? An art film? The answer is that it's all of those things.

"I don't think there's any reason why it can't be all of those things at the same time."

And what about those who associate Shakespeare with Lawrence Olivier? What will they think?
"I've actually yet to hear feedback from hardcore Shakespeare fans," she says. "It's probably not what they're used to!"

Adds director Lee, "Perhaps the purists may find this too removed from the Shakespeare adaptations we're used to, or what is expected. I think the intention from the beginning was to surprise and do away with what has come before."

You can see for yourself; the link is http://www.youtube.com/watch?v=-7h1OdbKWDI.
It certainly doesn't look like your grandfather's interpretation of Shakespeare, but on the other hand, your grandfather didn't live in the age of Viktoria Modesta.

Viktoria Modesta in her new Midsummer Night's Dream video:

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Mike LeDonne's Groover Quartet with "That Feelin'"

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As I have always been a sucker for the captivatingly diverse sound a good Hammond B3 can deliver under the right hands, I thought I would listen to the recent release by organ magician Mike LeDonne and his well-established Groover Quartet titled That Feelin'. Le Donne is one of those journeymen that has been around honing and plying his craft for years and it shows in his complete mastery of the complex piece of electro-mechanical equipment known as the Hammond B3. Mike and his quartet have been playing a regular residency for years at the upper west side jazz haunt Smoke Supper Club. His band mates include tenor saxophonist Eric Alexander, guitarist Peter Bernstein and drummer Joe Farnsworth, each a talented player in his own right. Together under Le Donne's leadership these guys have developed a finely calibrated musical machine that just hums along making the art of cooking look deceptively easy. But that's exactly what playing weekly in a steady residency produces. Sadly, there are not enough of these residency-type gigs around for musicians, but for anyone who lives in the NYC metro area, owes it to themselves to catch these guys at one of their weekly sessions as they will never disappoint.
On That Feelin' LeDonne and company lay down some pretty incendiary tracks.

The cd opens with two of LeDonne's compositions "I'd Never Change a Thing About You," a song written by LeDonne for his twelve year old daughter who has multiple disabilities, and the title cut "That Feelin'." On the first, the music pulses with an assured confidence. LeDonne's fluidity is on par with the great ones on the instrument and Farnsworth knows how to maintain that swing with the best of them. When Alexander enters with his deep throaty tenor the music pops. Guest altoist Vincent Herring, another Smoke alumnus, adds his own soulful sound to the mix. Facile guitarist Bernstein lets loose with his own slick solo and Farnsworth is giving a brief chance to show off some of his thunderous chops.

"That Feelin'" is a bluesy, jaunt that is in the Jimmy Smith tradition. Bernstein's gritty guitar work is both tasty and soulful. Alexander's rasp on the saxophone cries out with attitude. LeDonne's marvelous mastery of the multiple pull bar variations of his keyboard are on display here and they are a treat to behold. LeDonne's personal experience of having to deal with people who look at the disabled as somehow "defective," as he states in his liner notes, has steeled him. His reaction is to make music that percolates with joy and attitude. The music says; look at me, I maybe different but I've got "That Feelin'"
The Groover Quartet takes on the Delfonics R & B classic, "La La Means I Love You." Farnsworth's reliably steady backbeat is the backbone of this one. LeDonne again shows his plethora of ideas on his keyboard. His use of sustained pedal point is marvelous as he modulates the sound introducing a whirring fusillade of notes and changing it up with multiple pull bar variations.

Donald Byrd's "Fly Little Bird Fly" is a cooking, double time speedster. Alexander has his work cut out for him as he solos over LeDonne's quick paced left foot driving bass line. Guitarist Bernstein is no stranger to speed and he navigates this road race gracefully with an easy aplomb.

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On bassist Ray Brown's gutsy "Gravy Blues" we again have the two horn front line with guest Vincent Herring joining the quartet. His Cannonball-like alto is featured as the first solo and he does a marvelous job of evoking a feeling of rawness and sensuous soul. Alexander follows on tenor with an equally compelling voice. Bernstein's guitar offers the mellower side of the blues, and Le Donne returns for one last round using a "dirty" sound that contrasts perfectly with Bernstein's more refined tone.

LeDonne's "Sweet Papa Lou" is another double timed composition dedicated to saxophone legend Lou Donaldson, again featuring the two horn line of Alexander and guest altoist Vincent Herring. Another R& B classic, "At Last," made famous by Etta James, is given a Groover quartet treatment. Arranged by LeDonne as a slow shuffle, it is a beautiful song and the perfect ballad to give guitarist Bernstein a chance to show off some of his tasteful chops. LeDonne is also given some room to expound on the theme with his multiple voices to great effect.

Keeping with the R & B feel of the whole album, the group does an arrangement of "This Will Be An Everlasting Love." The group has fun with this one. Farnsworth lays down the beat as LeDonne works his magic around the changes. As with much of the music on this album the songs just swing their butts off with a genuine joy of cooking.

The finale is "A Lot of Living' to Do" a burner that features Alexander's tempestuous tenor showing why he is one of those players that can realty turn it on when he wants to with no discernible loss of clarity at any speed. Farnsworth tumultuous traps and dinging cymbals pulse the beat forward flawlessly. Bernstein is pushed to fleetness as the group keeps on a tear. Le Donne seems at home with cookers like this, high speed challenges that test the mettle and vitality of the players. With That Feelin' Mike LeDonne has indeed made a "feel good" album that he and his fellow groovers can be proud of.


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The United States of Anonymous

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Russia and the United States are the two great military powers, with China coming up in a shaky third place. But ironically one of the great powers in today's world is not a country with a well-armed and manned military, but rather Julian Assange's WikiLeaks whose leverage within the theater of world politics derives from information. In the 21st Century it may not be those with the largest armies or most baleful weapons that possess the advantage but those who know who does. If you're a superpower you might be more interested in launching a pre-emptive strike against WikiLeaks than you would against your own rivals. The only problem is that there's nothing to strike at. You may aim your weapon at the cloud or even try to spray it with the cyber equivalent of DDT, but information is like those deadly flesh eating bacteria that are capable of continually morphing into new and more antibiotic resistant forms. Let's say you have a conventional weapon. What makes any form of aggression work is the element of surprise. However when you're up against a super hacker like WikiLeaks or Anonymous, you're offensive is going to be pre-empted, with your enemy being able to intercept the missile before it reaches its target. But it's not only on a literal battlefield that wars take place. Insider knowledge of companies and of unreleased government policies (for instance when the Fed is going to raise its interest rate) gives those with information and a certain degree of guile a huge competitive advantage. Hacking can be used for purposes of terrorism, yet, in a way, hackers and those whose ammunition is information become formidable adversaries precisely because like they're terrorist colleagues, they often don't occupy any specific coordinates in time and space. You can run but you cannot hide does not apply to smugglers on the information highway. They can do both.




Anonymous insignia (Kephir at English Wikipedia)






{This was originally posted to The Screaming Pope, Francis Levy's blog of rants and reactions to contemporary politics, art and culture}

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This Artist Literally Lights His Art on Fire, and the Result Is Pure Magic

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When I see “explosive” or “singes the screen” in a movie review, I assume that the writer is either being lazy or attempting to be quoted in a trailer. But both descriptions are actually apt for the new Netflix documentary, “Sky Ladder: The Art of Cai Guo-Qiang,” directed by Kevin Macdonald. The film’s subject, Chinese contemporary artist Cai, literally blows things up on camera ― most of his art is created with fireworks and gunpowder.


Macdonald’s film is filled with moments of poetry in motion. Not only is Cai’s artwork profoundly beautiful ― it’s also shot by one of cinema’s best modern cinematographers: Robert D. Yeoman, who’s shot every Wes Anderson film. You’ll want to see the film, currently on Netflix and in select theaters, on the largest screen you can. The visual splendor of “Sky Ladder” is captured in three events that occurred between 2014 to 2015, each representing a pivotal shift for Cai as an artist.



1. “The Ninth Wave”


The first is Cai’s 2014 solo show, called “The Ninth Wave,” at Shanghai’s contemporary art museum, the Power Station of Art. The show, with clear environmental messages inspired by China’s ominous and deadly pollution, featured a dilapidated tugboat full of sickly-looking fabricated wild animals (pictured in the slideshow below).


Another piece was his “painting” of that ark, created by laying gunpowder on paper to achieve a specific design with a margin of unpredictability created when the explosive was lit. Many such gunpowder pieces were collected for the exhibition; when presented in a room together, they looked like apocalyptic updates of world maps.



To commemorate the opening of the political show, Cai held one of his highly publicized explosion events. It featured pigmented and biodegradable gunpowder, specifically timed and launched to paint the sky. Captured in “Sky Ladder,” it’s one of the most jaw-dropping pieces of live art you’ll ever witness. The pigments flutter like flower petals in the wind and then lay down like colored sand in a bottle. It’s both invigorating and soothing. 


2. APEC Cityscape Fireworks


By the opening of “The Ninth Wave,” Cai was one of the most renowned event artists ever. After his well-received collaboration with filmmaker Zhang Yimou at the opening ceremony of the 2008 Beijing Olympics, the world was Cai’s stage. Money was pouring in to create explosion events. But with outside money can come restrictions of artistic freedom. When Cai was commissioned to create a fireworks display for the 2014 Asia-Pacific Economic Cooperation conference in Beijing, Cai bent his artistry to meet the unrelenting demands of the Chinese government, which Macdonald captures as a personal low for the artist.



3. “Sky Ladder”


After APEC, Cai became determined to reinvigorate a project he had been obsessed with since the beginning of his career. He wanted to build a ladder in the sky to reach the heavens. To pull it off, a 1,640-foot “ladder,” made of stainless steel wrapped in fireworks, was to dangle from a hot air balloon long enough for it to ignite and become glowing steps to the sky. 


“Sky Ladder,” as he called it, is something that he and his team had attempted on several different occasions but were never able to complete due to bad weather, a city permit being revoked and other mishaps. Even his top advisors said that it was an impossible dream that he should give up. 





The idea of traveling away from Earth was something that comforted Cai as a young artist; he was nine years old when Mao Zedong unleashed the Cultural Revolution. In the documentary, Cai remembers when he and his father had to burn his father’s beloved collection of books.


Attempting to reconnect with his familial roots and early years as an artist, in 2015, Cai decided to stage his last “Sky Ladder” attempt in China, in the small fishing town where his grandmother ― then 100 years old ― grew up. For an artist of his stature, it was a small and intimate creation, free of sponsors and governments. It took a small village of people to help him pull it off, and once the ladder was ignited, it indeed looked like it reached the heavens. While the magic only lasted a few fleeting minutes, the curiosity and wonder it instilled will remain much longer.


Cai designed the trophy for the 2016 Berggruen Prize for philosophy, which is going to be presented to the winner, Charles Taylor, on Dec. 1 in New York City.


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Music in museums? Concert series abound at many museums around New York

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Gotham Opera performance at the Metropolitan Museum of Art
Photo courtesy of metmuseum.org


By Jose Andrade, ZEALnyc Contributing Writer, October 21, 2016

Art museums aren't just for art. Visual art, that is. Many of our city's greatest museums also offer wonderful concerts in specially-dedicated concert venues housed within the museum, as well as offering concerts within their galleries and public spaces, resulting in a true "melding of the arts." We have compiled a sampling of some of the varied music series taking place in museums for which you may have only previously thought of attending for its latest exhibit. Below is a taste of the wealth of musical treasures awaiting you this year.

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The Metropolitan Museum of Art (1000 Fifth Avenue at 83rd Street)


The Met offers eclectic fare this fall, utilizing their entire museum for performances, ranging from the Ethel Quartet and friends (taking place at cocktail time on the Great Balcony on weekend evenings--free with museum admission), to The Suspended Harp: Sounds of Faith in Medieval Jerusalem and The New Baroque (in a series at the Cloisters location), a Hindemith Concert (in the lovely Grace Rainey Rogers Auditorium--a proper concert hall housed within the museum), all the way to Arvo Paart performing a special concert later this season in the Temple of Dendur. For more information: www.metmuseum.org/events.

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The Neue Galerie (1048 Fifth Avenue @ the corner of 86th)


Also in the museum district, the Neue Galerie (dedicated to German and Austrian art), continues its Cabaret at the Café Sabarsky, with various artists performing primarily German and Austrian music from 1890-1930's. Performers such as Ute Lemperer, Steve Ross, Will Fergusson, Diane Love, Robert Osbourne, Naomi O'Connell, and Sanda Weigl are some of the highlights. Guests are able to sit and enjoy the concert while feasting on a gourmet meal from the Café. For more information: www.neuegalerie.org.

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The Frick Collection (1 East 70th Street @ Fifth Avenue)


Since 1938, The Frick Collection's Concert Series has presented the finest in keyboard recitals, chamber groups and early music ensembles. Also presented in a dedicated recital hall, performances this fall include the Carducci Quartet, Atos Trio and German pianist Joseph Moog making his New York recital debut. For more information: www.frick.org/programs/concerts.

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The Morgan Library & Museum (225 Madison Avenue @ 36th Street)


'The Morgan' (as it is affectionately known) has a rich history, starting out as the private residence of Pierpont Morgan who then built a separate private library to house his vast collection. Now over the years and through numerous renovations and additions, it has expanded to a full-fledged museum complex with a treasure trove of rare and valuable manuscripts, as well as priceless art collections and rotating exhibits. Within the complex is also housed a lovely recital hall hosting a variety of performances this fall. Highlights include performances by the Academy of St. Martin in the Fields Chamber Ensemble, Music & Words from World War One, Boston Early Music Festival, and a Renaissance Christmas. For more information: www.themorgan.org/programs/concerts.

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The Guggenheim Museum (1071 Fifth Avenue @ 89th Street)


The Guggenheim has been a true standard-bearer in championing the development of new works through their seminal series "Works and Process" established in 1984, and since that time has been presenting programs that explore the creative process involved in every aspect imaginable of the performing arts. These presentations also take place in a dedicated theater (designed by Frank Lloyd Wright). This Fall there will be previews from the Metropolitan Opera and Houston Grand Opera, a Commedia dell'arte performance, Julliard Dance, Peter & the Wolf with Isaac Mizrahi, as well as a holiday concert that will take place in the rotunda of the museum, among many other performances. For more information: www.guggenheim.org.

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Nicholas Roerich Museum (319 West 107th Street)


And now, one last little-known treasure of a museum which you may never have heard of before or know anything about. Located in a brownstone on a side street of the Upper West Side, this museum's sole mission and focus is to advocate the work of its Russian-born namesake Nicholas Roerich. The museum promotes all the varied interests with which the artist was involved during his lifetime, including the realms of art, science, spirituality, peacemaking, and more. Admission is always free, and on the second-floor "parlor" level where much of the collection is displayed, the museum regularly hosts solo and chamber music concerts, as well as poetry readings throughout the year. Due to its intimate size, you are truly hearing "chamber music" as it was originally intended to be heard. For more information: www.roerich.org.

Jose Andrade is a Contributing Writer for ZEALnyc and writes frequently on opera and classical music performances.

For more features from ZEALnyc:

Soprano Deborah Voigt Celebrates 25th Anniversary of Metropolitan Opera Debut

VIDEO: Fragonard: Drawing Triumphant at Metropolitan Museum of Art

TKTS Booth at Lincoln Center Announces an Extension Through the New Year

For all the news on New York City art and culture, visit ZEALnyc's Front Page.

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A Librarian's View Of Handel Plus Great Baroque And Early Music Sounds Reviewed

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The Lives of George Frideric Handel by David Hunter. Boydell Press



In seeking to explore freely among the various biographical narratives, and in the process hopefully create a less conventional but perhaps more illuminating narrative, David Hunter, Music Librarian at the University of Texas at Austin, uses Handel's life and lives as a series of reflective cases on musical, professional and personal issues and curiosities - put altogether, it's an engrossing digression on biography.



Hunter begins with "The Audience: Three Broad Categories, Three Gross Errors," and visits numerous colorful places along the way, in a Dickensian, rolling gait. It's not a book to read all at once, and at three pounds rather heavy to lift. There are also very few illustrations or charts and I think no music examples, which means nothing to distract from the beautifully set text.



The publishers admit that to evaluate the familiar, perhaps over-familiar story of Handel's life could be seen as "a quixotic endeavor. Glad they didn't hesitate. It turns that a quixotic endeavor is just what Handel needed.



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Johann Joseph Fux: Concentus Musico-Instrumentalis by Neue Hofkapelle Graz. CPO CD



Don't let the catchy title fool you: Johann Joseph Fux's Concentus musico-instrumentalis in septem partittas, ut vulgo dicimus, divisus was dedicated to Emperor Leopold I, to whom Fux was court composer. This wonderful first work survives only in a single printed copy of the original edition from 1701 - which is, unfortunately, missing some pages from the viola partbook. Luckily, Michael Hell has remedied the situation with his new reconstruction, performed here by the Neue Hofkapelle Graz, which he leads, along with Lucia Froihofer.



The Concentus consists of a grandly dimensioned Serenade in three parts, a Sinfonia à 6, four Overtures, and a *Sinfonia *in three voices. As Hell's proud, beautifully laid out liner notes describe,




"The constant alternation between the Italian and French styles or their juxtaposition and sometimes their combination runs like a red thread through the entire Concentus. Surely Fux was not interested in engaging in assiduous, one-sided imitation of Lully's style but in following an independent path. Here he is in the excellent company of Georg Muffat, who was trained in Italy and France and had a solid command of both styles. It should also be mentioned that the Concentus represents what is quite probably the very first printed music with oboes and bassoon(s) from southern German-speaking Europe."




In short, once it gets past the opening Overture in D minor, things pick up in variously bold, colorful, intimate and exotic fashion with music that is an absorbing take on the then dominant Frenchs style and energy. As the liner notes indicate, there is powerful stuff here which was part of the German tradition inherited later not just by Bach and Handel but later by Beethoven who would later combine much of both the French and German military pomp with his own splendid sounds.



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Three Decades of Anonymous 4 by Anonymous 4. Harmonida Mundi CD



Hard to believe it's been 30 years - it seems like yesterday that Anonymous 4 came along to open the ears of the music world to what early music lovers had always known: music for vocal quartet touches our hearts, entertains us and leaves us inspired.



This "farewell" CD of favorite tracks taken from Anonymous 4's 19 CDs, includes music from across multiple centuries and musical styles, which means Landini, Britten, Hildegard of Bingen, and lots of Anon. For me the central song is J.H. McNaughton's Civil War song, "The Faded Coat of Blue," so sentimental and yet so true. and while their clarity and intonation remained undiminished over time, it was the authentic feeling that lay beneath each note they sung that made them truly special.



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Bach and Telemann: Sacred Cantatas by Philippe Jaroussky. Warner Classics CD



Superstar countertenor Philippe Jaroussky takes on two Bach cantatas, including popular BWV 82, "Ich habe genug," and two by Telemann, the Martinu of the Baroque. Jaroussky's partners in crime are the superb Freiburger Barockorchester which had earlier joined the counter-tenor for live performances at at Berlin's Konzerthaus, where he was artist-in-residence in the 2015-16 season. In fact, the live concert marked the first time he had sung in German to a German audience. The sheer poetry of the excerpts from the concert reviews explain the excitement: "The voice of an angel" were the words of the Berliner Tagesspiegel; the Berliner Morgenpost praised the way Jaroussky's "plaintive descant glowed over the inky-black accompaniment" in the Telemann.



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Orfeo Chaman by Christina Pluhar. Warner Classics CD



Christina Pluhar's haunting retelling of the Orpheus myth draws on a narrative of evocative, sensual Baroque music and folksongs from South America to Sicily, starring Argentinean singer-guitarist Nahuel Pennisi in the title role. It is an experience to be immersed in, not to understand. The CD is accompanied by a bonus DVD: a complete filmed performance of the staged opera at the Teatro Mayor in Bogotá.



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David Chesky Venetian Concertos Orchestra of the 21st Century Chesky CD



For a cheeky grand finale, I suggest David Chesky's four Venetian Concertos for strings and flute; although the title and instrumentation might suggest Vivaldi, in practice they are more like four versions of Bach's Brandenburg Concerto No. 3 in which a struggle is going on for the music's soul. The performances even have their own original instrument feel, rough, passionate and occasionally a little overwhelmed. Chesky worked according to his own set of modern concerto grosso rules: "If the Baroque style of composition continued, what would it sound like today?'

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Fabergé and Russian Decorative Arts

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Queen Elizabeth and Monaco's Prince Albert own them. So does Russian oligarch Viktor Vekselberg who bought Malcolm Forbes's clutch in 2004 for $100 million. Nothing symbolizes the romance, excess, and tragedy of Russia's last Romanov tsars like Fabergé's bejeweled imperial Easter eggs. Surprisingly, five of the 52 imperial eggs created by Fabergé reside in Richmond at the Virginia Museum of Fine Arts, part of the largest public collection outside of Russia.

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Five Fabergé Imperial Easter Eggs, Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt, Photo: Katherine Wetzel © VMFA

Opening October 22, "Fabergé and Russian Decorative Arts" features an extraordinary collection of some 280 objects. Four of the five new galleries feature European style Fabergé and other Russian decorative arts in gold and silver, jewelry, enamels, and hardstones. The fifth gallery displays objects inspired by Russian history and design. The highlights -- the imperial Easter eggs -- enjoy their own circular, deep-blue gallery, designed for visitors to enjoy each jewel from all angles.

"I hope visitors will appreciate the quality, excellence, and sheer beauty of these many objects," says Barry Shifman, VMFA curator of decorative arts. "I also hope they will better understand the opulence of the Romanov court and Karl Fabergé's accomplishment as the head of one of the greatest firms of jewelry and silversmiths in late 19th century Europe."

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VMFA Fabergé and Russian Decorative Arts, Imperial Easter Eggs Gallery, Photo: Travis Fullerton, © Virginia Museum of Fine Arts

The treasure trove came to Richmond as a bequest in 1947 from Lillian Thomas Pratt of Fredericksburg, Virginia. According to Shifman, Pratt was among a handful of American women collectors including Marjorie Merriweather Post, India Early Marshall, and Matilda Geddings Gray who were swept up by the romance of Fabergé in the 1930s and 1940s. Pratt's infatuation began in 1933 at Lord & Taylor's in New York City where tycoon Armand Hammer organized a Russian Imperial Exhibit with art treasures sold by the cash-starved Soviet Union.

Over the next 12 years, Pratt assembled a highly personal collection of nearly 170 Fabergé objects -- from diamond-studded brooches, pictures frames and parasol handles to champagne flutes, flowers and songbirds. In the guest book of New York art dealer Alexander Schaffer (today's A La Vieille Russie), Pratt's name appears between those of the Duke and Duchess of Windsor and explorer Lincoln Ellsworth. Pratt's most prized acquisitions were her five imperial Easter eggs.

The annual tradition started in 1885, when Russian tsar Alexander III commissioned St. Petersburg jeweler Karl Fabergé to create the Hen Egg as an Easter gift for his wife, Maria Fedorovna. Combining the artistry of European goldsmiths with a popular Russian Easter custom, Fabergé's eggs so delighted his mother, Nicholas II continued to give them to the dowager empress and his wife Alexandra until his abdication in 1917. For the lavish presents, Fabergé assembled a team of designers, gem cutters and setters, engravers, enamellers, and polishers. The decoration was a closely guarded secret; the only requirement was that each egg contain a miniature "surprise" inside.

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Peter the Great Egg, Surprise, Fabergé, 1903, gold, platinum, diamonds, rubies, sapphire, enamel, rock crystal, watercolor on ivory, height 4.25 in. Bequest of Lillian Thomas Pratt, VMFA

In 1903, Nicholas presented Alexandra with the Peter the Great Egg to commemorate the bicentennial of his predecessor's founding of St. Petersburg. Fabergé jewelers decorated the multi-colored gold shell with watercolor portrait miniatures of Peter and Nicholas and their residences along with diamond arabesques, ruby studded bulrushes, and enamel roses. Inside is a miniature replica of Peter's famous equestrian statue commissioned by his ambitious granddaughter-in-law Catherine the Great. It took Lillian Pratt nearly three years to pay off the $16,500 egg -- a brilliant investment. Last year, the missing Third Imperial Egg by Fabergé resurfaced and sold in London for $33 million.

Another of Pratt's imperial eggs, the 1897 Pelican Egg, is topped by a diamond-winged pelican feeding her young. The red-gold egg unfolds to reveal eight oval frames, rimmed with pearls, each holding a miniature painting of orphanages and schools patronized by the dowager empress. One of Alexandra's favorite gifts was the 1912 lapis lazuli Tsarevich Egg in honor of her son Alexei, who suffered from hemophilia. Diamonds accent the rococo-styled gold work, including two double-headed eagles symbolizing the Romanovs. Inside, a platinum-and-diamond-studded picture frame holds a watercolor portrait of the seven-year-old tsarevich in a sailor suit.

In addition to Russia's last two tsars, Fabergé's clientele included European royals, wealthy aristocrats, and business tycoons. In its heyday, the company employed some 500 people with branches in Moscow, Odessa, London and Kiev. Before the Russian Revolution put an end to the firm nearly a century ago, Fabergé produced some 150,000 luxurious objects.

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Bratina, Fabergé, Julius Rappoport (workmaster), ca. 1900, silver-gilt, enamel, sapphires, emeralds, rubies, garnets ,blue topaz (?), pearls 5⅝" h x 6⅛" dia., Bequest of Lillian Thomas Pratt, VMFA

Among Faberge's most popular items were enamel objects created with a variety of techniques and a stunning palette of 144 hues -- including a pearlescent "oyster" white and a warm pink "salmon" color. One of the standouts is a beautiful, rare bratina or punch bowl. Inspired by artisans in Moscow, Julius Rappoport designed the bowl with green guilloché enamel overlaid with scroll designs embellished in cloisonné and champlevé with rubies, sapphires and emeralds.

Fabergé also worked magic with hardstones -- a Russian carving tradition dating back to Peter the Great's reign when the rich mineral deposits were discovered in the Urals. Using nephrite, rock crystal, jasper and agate, Fabergé craftsmen produced cane handles, boxes, and frames often mounted with gold and gilded silver.

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Globeflowers, Fabergé, gold, enamel, nephrite, rock crystal, 5 in. Bequest of Lillian Thomas Pratt, VMFA

Lillian Pratt's charming menagerie of hardstone miniature animals are on view, along with vases of hardstone flowers modeled after 18th century jeweled bouquets from the Russian imperial treasury. Among the flowers are Globeflowers or buttercups, with three gold buds and nephrite leaves, and Pansy, with a blossom of four cabochon sapphires and petal of yellow guilloche enamel studded with rose-cut diamonds.

Thanks to interactives, visitors can design their own eggs and watch as videos reveal the construction of the imperial eggs and their surprises. To complement the new "Fabergé at VMFA" mobile app, archives of the collection are available at http://faberge.vmfa.museum/

For more information, visit http://vmfa.museum/exhibitions/faberge-and-russian-decorative-arts/

Susan Jaques' biography, The Empress of Art: Catherine the Great and the Transformation of Russia was published in April by Pegasus Books.

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Living with Hastings' House

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Beverly Buchanan
Ruins and Rituals

Elizabeth A. Sackler Center for Feminist Art
Brooklyn Museum
October 21, 2016-March 5, 2017

For the past 26 years, Beverly Buchanan's Hasting's House (1989) has stood on a shelf in my loft; nearby, the legend that Beverly wrote for the art work:

Hastings' House

Brunson Earthly Hastings lived by the rules of hard work, no liquor, and one woman. His 10 sons were smart, hardworking farm boys but Anna, the only girl, was his heart. He was blind when she graduated but smiled proudly when he heard them call out DR. HASTINGS, to her.

Illuminated every night by a vintage lamp and protected from the elements by the centennial building's pressed metal ceiling, the wooden sculpture of a shack with its tin roof (19 ½ x 9 x7 inches) is a powerful visual reminder of my visit with Beverly in Athens, Georgia in 1994. Beverly was quite ill when we stayed in her home (she had difficulty breathing and there was some sort of oxygen machine in her home) but that did not stop her from driving me and my husband, Shael Shapiro around in her pickup truck, on the hilly back roads of rural Georgia, to see the folk art of her friend, Reuben Miller. I vividly remember pulling into Miller's driveway, a sea of his metal whirligigs turning in the wind. We bought several of Miller's pieces, a red devil cut out of tin and a bicycle wheel whirligig with fins and a dinosaur cut out of sheet metal, resembling a weather vane, which, ever since has spun ferociously on my windy SoHo roof.

At the time, I was there to interview Beverly for a catalog essay that was to accompany an upcoming exhibit at the Steinbaum-Krauss Gallery in SoHo. The group show was entitled, Memories of Childhood and my piece on Beverly Buchanan focused on words and images: "Crossing Over: The Artists as Writer-- Which Comes First: Words or Images?" Beverly was clearly a story-teller and I was curious: Were her tales about the inhabitants of the shacks she created, entirely fictional? What experiences had she drawn on to create this work?

The visit to Athens was full of surprises. First, there was her biography, not the one I expected from a female artist who made shacks. Beverly was raised by adoptive parents, her great aunt and uncle Marion and Walter Buchanan, in South Carolina where Walter Buchanan was the Dean of the School of Agriculture at South Carolina State College at Orangeburg, then the state's only public college for African Americans. It turned out that Beverly most certainly did not grow up in a shack, living instead on campus in a very comfortable home which had two bedrooms, a separate kitchen and dining room, and a long porch that Beverly told me was the place where she used to roller skate.

Her exposure to shacks came through Walter Buchanan who often visited farms in his role as an educator. This was where Beverly saw how farm families actually lived and it made a lasting impression. While she had an indoor toilet in her own home, she was struck by being able to see the sky in between the boards of an outhouse. With her father, she often spent the night in the farmer's modest dwelling.

Although Buchanan sketched and made things all her life, using leftover stuff as she called it, she was at first bent on a career in the sciences. She earned a BS in medical technology from Bennett College in Greensboro, North Carolina and then successive Masters Degrees from Columbia University in 1968 and 1969 in Parasitology and Public Health. After that she worked as a Medical Technologist for the Veterans Administration in the Bronx and as a health educator for the East Orange, NJ Health Department. During this period, she thought that she would become a doctor and she applied to and was wooed by several medical schools.

I thought about Beverly's aborted medical career when I re-read the legend for Hastings' House. Was Anna Hastings' story a foil to Beverly's? Beverly who never did go to medical school and ANNA, the "only girl, Brunson Earthly Hastings' heart," who graduated as DR. HASTINGS. Anna's title in my legend is in all caps, an indication, undoubtedly, of the prestige of her becoming a professional, a reminder that a shack dweller can become a future doctor, professional, artist, or entrepreneur. If a shack somehow reflected the personality of the shack dweller, then, perhaps my shack reflected Beverly's life, too.

What changed the direction of her life was enrolling in The Art Students League in New York where she studied with the painter Norman Lewis. By 1977, Buchanan quit her job in East Orange and declared herself a full-time artist. Three years later, in 1980, she received a Guggenheim fellowship and a National Endowment for the Humanities Fellowship in Sculpture.

Over time, Beverly shifted locations to Macon and Atlanta -spending more of her life closer to her southern roots. She rekindled her love of vernacular architecture, the outbuildings, farm houses, and shacks that she had seen as a child. When I visited her in the 1990s, she was living in a big old house in Athens, not far from the University of Georgia, with her friend Patti Phagan, a curator of prints and drawings at the Georgia Museum of Art.

Owning Hastings' House has had a strange effect on me. I've spent years imagining the lives of the Hastings family, the story spinning out of control beyond Beverly Buchanan's legend. Hard work, no liquor and one woman, yes, but it was Anna's mother, who was the real hero in my tale. She stood in the doorway, her apron fluttering in the breeze. She taught herself to read and she saved pennies to send Anna to school, convincing her husband that a girl needed an education more than a boy.

Wonder what Beverly would have thought of this version?

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Hastings' House 1989

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I Have Moved--Note from Beverly with drawing

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Beverly Buchanan holding Hastings' House New York Times January 18, 1990
"The Shack as Art and Social Comment," Suzanne Slesin, Photo by Jack Manning

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ROAD 23 NORTH, 1991, OIL PASTEL ON PAPER

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Santee-Cooper Basin (S.C.), oil pastel on paper, 1990

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Painting New Jersey: Artist Margalit Romano Brightens Her Community

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"I always thought art had to be a certain way, had to look a certain way, and had to fit in a certain category. As I got older, I learned how to appreciate art in my own way."

An artist unabashed by color, audacious when it comes to the shifting of material and space, Margalit Romano is a passionate painter and mixed media artist who reshaped a therapeutic hobby into a career of commercial and interior commissions. Romano is a New Jersey based mother of three whose love for vibrant hues and primary colors is also a key component to her signature style. If you've spent some time on the East Coast recently, or the teen's ward of the Jersey Shore Medical Center (wishing you the best of health), there's a chance you've seen her work. With pieces like the ones from her Flora series- where broad ribbons of acrylic paint reminiscent of frosting roses, cover the surface of a wooden board like an unnaturally dense field, or her Blocks, which at first make you feel like you've shrunken into a Lilliputian and crawled into a child's playroom, but then it's easy to view these blocks as unique works of "functional art" - it's no wonder why Romano's work has been popping up as little bits of joy in familiar establishments.

The roses in Flora are also meant to break a faux pas commonly associated with fine art. She created the series completely aware of what may come from them- the urge to touch the stiff petals. While many collectors most likely do not want strangers rubbing their painting, Romano encourages this playful feature to many pieces of her work.

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"One reason I generally love texture in artwork is because you are able to gain the ability to really see the artist's hand at work. I wanted to create a piece that was dense with texture, and I wanted it to be unified while also beautiful. With that in mind, I mixed acrylic medium with paint and laid out sturdy wooden panels. Usually people are not welcome to touch art, but I made it durable enough where viewers can explore that curiosity, feel the texture and have their own unique interaction. My mediums dry hard enough to last ages so there is no risk to cracking or damage. I guess you could say that this is also easily inspired by having children."


Flora, those tiny relief-like sculptures, is just one series of Romano's. As commission pieces and clientele shift, so does the type of work she produces, so much so that each series is drastically different than each other. Blocks serve as functional art and can be found throughout Jersey Shore Medical Center, where she helped create a lounge for teens ("There is always a room for babies and young kids to play," she comments. "But there is never a space for teenagers. I worked with the Ezra Abraham To Life Foundation and changed that."), as well as Offsite Chicago, a coworking space. Her Striation series, crafted with wood, acrylic and epoxy resin for a strong polish, are large paintings of straight, vertical, brightly colored stripes, which also served as inspiration for the commissioned walls of Urban Pops in New Jersey. Romano also has installations, paintings and murals in The Juice Theory, DSN Community Center, Town and Country jewelers, amongst many many private residential commissions. She has also been part of group shows including one in the Brooklyn Community Center and this past September, the Rotterdam National Art Fair.

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"When I do commissions, I work with the space itself, pulling inspiration from the environment. I like to find out what their fears are, what they want out of their space, how exactly they would like their customers to feel, and so on. No one comes to me if they are afraid of color, I can be certain of that. I'm grateful this has become a part of my everyday. A day that I'm not painting is a day that I'm not myself."


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Learn more about Margalit Romano by visiting her site: http://margalitromano.com and her instagram @margalitarts

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