Somethin - Brous One - Consequences (Cassette, Album)


The books interior design resembles a high-end photography book, with protective barrier sheets between each isolated image. Kelleys introduction was printed, in script, on faux parchment, emulating colonial design.

Its style, tone, and range of referenceseven the original graphic layout using a pseudo-historical typefaceare all duplicitous. The images in the book are not found but made, and Album) voice of the text deliberately stilted. The result is an elaborate hoax, one of the more vivid of Kelleys many efforts to perform, write, and represent through ctitious adopted personae.

Black-and-white photograph. Here we have a collection of grotesqueries, defacements of some of the most cherished images of our American past. Who could be responsible for such delements? What could be the purpose in tarnishing the heroic gures and events we hold so dear? These are questions one is compelled to ask; yet might questions be better put to the images themselves?

We might ask, instead, why these pictures provoke addition. What has been subtracted from them? Heroic images thrive on subtraction.

Idealization occurs as things move away from the physical concerns of mankind. Only then, after the body and desire are no longer in proximity to them, are things worthy of adoration. Gods are gods simply because they are not human. The photographs you see here are not truthful representations of the historical events they picture, nor are they meant to be. Like a printed word, which gives up its graphic specicity to express a concept, these pictures leave historical specicity behind to convey general American values.

The reality of these past events is a confused and gruesome one, anyway. One is better off buried. Murder, war, the struggle for power, the desire for wealth, and the disruption of social orderall these passions red by the esh are of no consequence today, when peace and satisfaction are the rule. The past is where these things belongadored but not emulated. But as in a confused state in which we can see a word but not understand its meaning, these repressed historical specicities refuse to be totally erased.

It is this return of the repressed that gives a heroic image its repellent aura. The same formula that produces a god, the excising of the human, also produces monsters. Thus it is easy to understand why the ill-educated sometimes confuse the heroic with its corrupt soul.

In such a case, the nonhuman is read as inhumanunsympathetic and cruel. Luckily, the dualism of attraction and repulsion in the heroic image is not one of balance. For the most part, the fearful nature of the image remains repressed. The picture can continue to It is not a contradiction that the Christian God is simultaneously all-good and harsh judge. It must be remembered that the benevolent dictator acts out of kindness in consenting to rule those who cannot rule themselves, even if his subjects resent that fact.

Such childish resentment is the cause of the defacements presented here. The inability to accept their lower position in the order of things provokes these artists to drag back to the surface garbage long buriedto sully, vandalize, and render inoperable our pictures of health.

Not that such a tactic is always bad. These negative impulses sometimes perform a useful function; in. The enemy is attacked, de-heroicized, by reestablishing its connection with the body. Sexuality especially in its most culturally unacceptable expressions, such as homosexuality, pedophilia, and bestialitybodily functions scatological ones, in particularand crimes against the family a symbol of the broader family of society are the most effective agents of besmirchment.

These are the very tactics in evidence in this disturbing group of photos. Returning to the question I posed about who is responsible for these images, the answer is: they were produced by grade school students. This answer may be surprising, for the students are not the revolutionaries or satanists you might have expected. Rather, they are normal young people who would no doubt consider themselves patriotic Americans and conservative heterosexuals.

They would, I believe, be hard pressed themselves to explain the ood of mayhem and pansexuality exhibited here. But because these defacements are totally unconscious productions, the students should not be taken to task. On the contrary, we should be glad that these young people have felt the urge to deface and have succumbed to it! Clinging to their human nature is a sign that they do not seek to transcend it; unlikely candidates for a revolutionary youth army or satanic murder cult, they will probably never desire power.

The stiffness of the heroic images of our shared past brings a realization of our own frail physicality, and causes us to regret it. These children, these defacers, are at an age where they do not yet appreciate the benecial nature of that realization. It is something they are struggling to learn, and therein lies their frustration.

Yet, as all adults know, resentment blossoms into respect when the lesson is nally mastered. Heroic textbook illustrations should be thought of as teaching aids, and the defacement of them as proper scholastic exercises. With these exercises, children be.

These young people are our future civic and religious leaders. They take their rst, tottering step toward the construction of a glorious future with this: their degraded reconstruction of the past. In his catalogue essay, Cameron links the increasing attention to what he calls the bi-Atlantic phenomenon p.

Looking for social and aesthetic emphases that might account for the particularity of cultural development in the U. The savage garden, then, encompasses the ruin and failure of these relations, the co-existence [in it] of brutality and beauty, and what Cameron proposes as a nal equivalence between ecology and democracyreally two different names, he suggests, for the exact same thing p.

Oil on canvas. From its beginnings in performance, Kelleys work has engaged quite consistently with ideas and experiences of landscape, especially with the history and popular reception of the sublime which he discusses in several essays in Foul Perfection as well as in some of the statements and writings that make up the present volume. Camerons claim, however, that the pastoral aspects of Kelleys work have to do with a retreat into madness and a focus on cultural violence p.

For while Kelley is concerned with the social production of anxiety, repressed memories, and popular mythologies, he rarely employs or alludes to spectacles of violence, concentrating instead, often humorously or ironically, on the formal organization, dissemination, and misreading of socially embedded stereotypes and rituals.

Addressing as it does the social and psychological conditions of undergraduate education, Alma Pater Wolverine Den clearly has something of a pastoral quotient, but it is centered on a memory-driven, parodic simulation of the visual regime of fraternity, academic, and popular masculine identity encoded in dining-room dcor, mascots, emblems, efgies, and horse paintings. As the teasing gender reversal of the installations title suggests, however, and as Kelley explicitly notes, the project shouldnt be taken too seriously.

This statement is published here for the rst time. The installation consists of a long narrow room, the walls of which are covered in maroon felt.

Portrait paintings of horses are located at each end, and a row of felt banners hangs from poles on the long, facing walls. The room refers to the ofcial, sports-related aesthetics of my alma mater, the University of Michigan in Ann Arbor. For the most part, these were yers for souvenir items related to the schools football team, the Wolverines. I no longer remember exactly which school it was in, but I think it was in Arizona.

I still have slides of this space, but no notes on its location. This dining room was decorated in a very old-fashioned, East Coast, Ivy League manner. The walls of the room were covered with dark red felt, and pennants and banners from various universities hung everywhere. Some of these dated back to the s. For the Madrid exhibition, I combined motifs taken from this room with others specically referring to my own undergraduate university.

In a way, the installation was a humorous attack on my alma mater, which I felt wrongly stressed sports over academics in its self-presentation. When I was at the University of Michigan in the early s, I was appalled by the schools endorsement of the thuggish, macho values of its football players and fraternity members. To this day, fundraising mailers and the universitys alumni newsletter focus on such moronic events as tailgate partiespicnics held at the rear end of cars in the parking lot outside of the sports arenaand useless debates concerning the inventor of the Go Blue!

The imagery of the blue and maize banners on the installations walls was taken directly from such source material. The themes include a Wolverine baby bib; Willy, the cute, personied version of the Wolverine mascot; a modernist football trophy; a manly U of M desk lamp; a souvenir toy football; a U of M bumper sticker; and the ofcial seal of the U of M alumni association.

One side is painted with dark, faux woodgrain; the other with an image taken from a yer for an efgy-hanging contest held at a fraternity house during my student days. This panel is pierced by a hole, enabling viewers to toss a souvenir U of M toy basketball through it into one or other of the U of M Wolverine dog beds.

For those who dont know, a wolverine is the raccoon-sized mammal adopted as the state animal of Michigan, and in folklore associated with a mean and nasty temperament. I actually attended the efgy-hanging contest. As a kind of performative intrusion, I made. It turned out to be a booster event for a football game. The frats sorority sisters had sewn a cuddly, stuffed gure that represented the animal mascot of the other team and hung it from a tree by a rope.

My efgy was the only other one submitted for the contest. I hung it from the tree as well. There followed a series of speeches, presided over by an aging housemother, attacking the other team and their coachI had no idea who they were. But as I had brought an efgy for hanging, I was called on to speak. I was terried, but pulled it off by delivering an impassioned rant, using only generalities, about the evils of the other team. I then called for the burning of the efgies.

This provoked a shocked silence. It turned out that the sorority sisters were too proud of their handiwork to destroy it, and the housemother informed me that burning things on fraternity property was strictly forbidden.

I responded by saying that they obviously did not hate the other team enough, but they werent convinced. Because I was the only person submitting an efgy who was not afliated with the fraternity, I won the contest by default. I asked for my trophy but was told that there wasnt one. I dont think they ever expected anyone from outside of the fraternity to attend the event, so no trophy was acquired even though there was a poster advertising that one would be awarded to the winner.

The next day I went back and demanded my trophy, making it clear that I would keep returning until it was given to me. One of the frats took a track trophy from his shelf and applied a handmade sticker over its inscription announcing that it was now the trophy for the efgy-hanging contest.

In addition to the banners and the central wall, the installation contains two tasteful oil portraits of horses, painted in the rich manner of Dutch old master painting. I commissioned these but added details myself, painting sad eyes and tears on one horse, and adding milk to the lips of the other. When I was in high school, a friends father had a used-car lot. He would often trade used cars for items of value, so he had a large collection of art objects, trophies of war, and other valuables.

This collection interested me very much, since it was a kind of catalogue of what, besides money, people in my social class considered valuable. Horse portraits were among these treasures. They are quite common in mens clubs, where they function, I believe, as idealized images of masculinity.

When these paintings are compared to photographic portraits of horses, their idealized state is obvious. In preparation for the paintings, I went to a stable and made such photographs.

But when I examined the images, I was shocked to see how stupid the animals looked, and realized I was more used to seeing illustrations of them. The photos were useless as models for a typical Instead, I instructed the painter to use how to books to produce the paintings.

Professional horse painters have developed a set of pictorial conventions that invariably result in the image of a noble-looking animal, imbued with obvious human characteristics. With the addition of the sensitive tears to the crying horse, and the infantilized lips to the milk-drinking horse, I worked against the masculine connotations of these conventional images. This gender bending aspect of the work also operates in the title. I shifted the gender of the term alma materwhich in Latin means fostering mother and is used to designate the.

This reversal is not very obvious, however, for the shift from the feminine to the masculine simply stresses the masculine nature of the aesthetics of the university and does not necessarily cause one to question it. In essence, it is an accentuating device. Despite this critical accent, the work is playful in nature and shouldnt be taken too seriously. Alma Pater uses common American visual tropes in only slightly altered forms that many viewers would not even recognize as subversive.

On the University of Michigan at Ann Arbor, see note 1 to Missing Time which also discusses Kelleys undergraduate yearsin this volume. The Ivy League is a group of colleges in the Northeast United States forming a league for intercollegiate sports: often used to describe the fashions, standards, attitudes, etc. Press,pp. It has often been cited as a serious commentary on my aesthetic concerns.

In fact, it was designed as a humorous jab at the impossibly difcult assignment to write a thumbnail encapsulation of my artistic practice. To evade the problem, I chose instead to depict primarily juvenile aesthetic events that predated, or ran parallel to, my artistic career.

I did not, however, intend the text to function as an antiart manifesto. This does not mean that the situations it describes were not important formative events in my artistic life; but they are obviously not the most signicant. For each of the events recounted in the text, I could substitute more aesthetically inuential events from my adult life.

Such inuences are given longer and more studied attention in my essays collected in the companion anthology, Foul Perfection: Essays and Criticism, ed. John C. Welchman Cambridge, Mass. When I was in junior high school there was a contest sponsored by the Veterans of Foreign Wars to design a patriotic poster. From the very beginning we meant it as a joke. First of all, we agreed to collaborate on the poster, so that neither of us would be responsible for the nal outcome.

Secondly, we were not close friends, so we didnt care about making each other look talentless. We couldnt have spent more than fteen minutes on the poster. We each took turns painting it. And we picked the most insipid subject matter and caption we could think of: a portrait of George Washington in front of the American ag with the motto, Your Land and Mine. We used the cheapest materialsposter board and elementary school poster paintand painted as poorly as possible.

The ag was depicted as a crude series of stripes with one sloppy star and a totally unrecognizable Washington was painted in a garish combination of chartreuse and green. We won. In high school, I went with several friends to a dance at a rival schoolthe Catholic school I had attended before switching to a public school at the end of the eighth grade.

We were friends of the band hired for the event, and we hung with a small group of other freaks, glowering against the wall. On this wall was a collage composed of various uplifting and happy photographs cut from popular magazines. These images formed the phrase Everything Is Beautiful, taken from a sappy pop song.

We were thrown out. Around the same time, I was getting quite a bit of pressure from my father to act more normal. He wanted me to engage in group activities more appropriate for a boy, namely sports. To spite him I took up sewingnot because I had any interest in it, but just to piss him off. I sewed a very crude doll, which I laid on my bed. After hearing psychedelic music, I became a rock music fan and went to many concerts.

In the early s, the general trend was for pompous, self-involved rock theatrics. The beatnik notion of poet-is-priest6 became rock star-is-priest, and the rock concert audience was transformed into a hedonized mass, generating a group consciousness orchestrated by the rock singer. As at a church service or football game, the audience was enticed to sing along or raise lit matches in unison.

Sun Ras shows at this time were huge, showy, and spectacular. The stage was lled with tons of equipment and many musicians, his Arkestra, as well as dancers and props.

The aesthetic was a mix of African music, exotica, big band, science ction, Greek chorus, and political rally. It was unlike anything I had ever seen or heard. The audience would be excited into a dancing frenzy by throbbing, African-style drumming, and then Sun Ra, or Mr. Mystery as he sometimes called himself, would start to fuck with your head, shifting at breakneck speed from schmaltzy big band arrangements, to strange neo-Egyptian poetry and long nonsense chants, to weird skits about outer space employment agencies.

You were constantly being asked to shift gears abruptly. At one point, you might be swept up bodily, only to be dropped on your ass by twenty minutes of harsh electronic white noise. It was the most intellectually and physically demanding show I have ever seen. He was very approachable. When I asked him how he felt his show differed from James Browns equally elaborate but more pleasure-oriented performance,10 Sun Ra replied, James Brown gives the people what they want; I give them what they need.

During an intense winter snowstorm, I braved hitchhiking from Ann Arbor through a particularly redneck rural area outside Detroit to see the Stooges. When I arrived at the club, I found it was a small biker bar.

I was the rst one there. Passing the time, I asked the bouncer, a huge, fat biker, whether he had ever seen the Stooges. No, he said, But if that prick throws up on stage, Im going to kick his ass. When the Stooges arrived, Iggy was dressed in a ridiculous jazz-dancers outt, a kind of leotard with spangled skirt. His eyes were sloppily ringed with eyeliner, and a cigarette drooped from his lips.

His whole demeanor said, Fuck you. I could feel the current of hatred. Iggy was the total front man; the rest of the band barely moved. They stood stiff and erect like store window dummies, their faces blank. They were the perfect foil; all eyes were focused on Iggy, a master of body gesture. Every move was charged, and his moronic, contorted dancing seemed inspired, like an acrobat possessed by the spirit of an epileptic Jerry Lewis.

The show started off simply enough with a few upbeat rock tunes that got the crowd going. Iggy incited the audience to respond to him, got them heated up they want Iggy. Then, all of a sudden, he stopped, singling out a girl pushed up against the stage, one of the fans to whom a second earlier he had been gesturing and enticing.

The room went silent. Get this bitch out of here. She tried to touch me! We wont play unless she is removed. The tension started to build. She moved out of sight. Then Iggy asked, What do you want to hear? The crowd yelled back an incomprehensible roar of song titles. Louie, Louie.

It is hard to explain now what Louie, Louie meant at that time, when rock music was trying to be important. It was the rst song a hillbilly rocker would learn on his guitar to impress the girls at a school dancea throwback to an embarrassing time when rock music was entertainment for fraternity boys, not an instrument of social change.

It was a slap in the face to the audience. But they politely suffered through it, even goodnaturedly hoopin and hollerin a little bit. Then Iggy asked again, What do you want to hear? The same roar came back. And the band tore into Louie, Louie for a second time. Louie, Louie was played three times in a row. The audience was starting to get antsy. The band did another rocker and the audience regained its faith, only to have Iggy pull some other disruptive stunt.

He was an amazing performer. I have never seen better. He played the audience like a sh. The crowd was in the palm of his hand. They would suffer insult after insult, have their faces rubbed over and over again in their own complicity, and come running back for more. This doesnt sound like much after fteen years of punk music, in which these stage antics are the norm.

But Iggy invented this stuff. After about ve or six songs, a big biker shouted, Hey, Poodle Boy, and hit Iggy with an egg. The next thing I saw was Iggy doing a belly op into the audience; and then a riot broke out. Chairs and tables overturned, the place was cleared within fteen minutes. The lights were turned up, the band had run out the door, and I was left standing there babbling, What happened?

He is the only original member still in that band. He died in an accident in This was part of a close knit punk scene centered around Tornio, Finland. Only copies were made. It is almost impossible too find. Now I feel much better.

Getting away from the sacrificial lamb has done wonders. Now all I need is to rip a coupla bong hits. This month features pianist Sam Harris. Sam grew up in Dallas, Texas. He studied classical piano with Janet Jones and competed regularly on the local and statewide level. While attending Booker T. Washington High School for the Arts, he discovered jazz and began taking lessons with local piano legend Bill Lohr.

Witness adults sharing their most embarrassing childhood artifacts journals, letters, poems, lyrics, plays, home movies, art with others, in order to reveal stories about their lives. Hear grown men and women confront their past with tales of their first kiss, first puff, worst prom, fights with mom, life at bible camp, worst hand job, best mall job, and reasons they deserved to marry Jon Bon Jovi.

Photo credit: Ed Pingol. In this comedy of honor, Ana Caro criticizes the customs of her era and the position of women in the social order while ridiculing through parody the erotic myth of Don Juan. The protagonist, Leonor, seeks to recover her lost honor against Don Juan who made a false promise of marriage while seducing her. To revenge herself, Leonor dresses in male attire a common technique in Spanish Golden Age Theatrecalls herself Leonardo, and pretends to be a rival suitor for her hand.

Don Juan has already moved to seduce the Duchess Estela, who in turn falls in love with "Leonardo. Although a typical finale for a 17th century Spanish play, the unconventional aspect is that a woman has solved her own misfortune without the help of a man. Walk straight through the heart of Central Park on this east-to-west tour led by Central Park Conservancy guides. Enjoy a great variety of the scenic, sculptural, and architectural elements the Park has to offer. Details Meet: Samuel F.

Morse statue inside the Park at 72nd Street and Fifth Avenue. Tour ends at 72nd Street and Central Park West. Register in advance for easiest check-in! Pre-registration not required. Cumbia-punk, ska-funk, boss-a-rengue, dubbed out tarantellas. Audible insurrection. Collaging sounds by means of serendipity, the result is organic and unpredictable. Maybe you'll step into a frenzied mosh-pit, maybe you'll hear your grandparents' folk songs ripping through the speakers. Where-ever you find yourself, it will be wild.

A man whose love of the 80's is at his very core, David Berndsen is a bearded iconic pop figure in Iceland, famous for his sound and various videos that recreate an era and a distinct moment in time when music and the costumes and aesthetics from groups such as Soft Cell, OMD, Yazoo, Visage, the Human League and Ultravox triumphed worldwide.

Celebrating their 10th anniversary and inspired by the beauty surrounding the Bayard Cutting Arboretum, members of Women Sharing Art, Inc. This talented group of women includes painters, photographers, potters, jewelers, glass, mosaic, and mixed media artists.

These accomplished artists have created a multi-media exhibit that adorns the walls of the Annex galleries located in the Manor House. The exhibit is open to the public Thursdays thru Sundays, 11 am to 4 pm from April 5 to May 13,with a reception on Sunday, April 8 from 1- 4 pm.

Why not treat Mom to art inspired by this Long Island jewel. These droll, yet lively, pieces subtly deal with grand human struggles such as loneliness and mortality with an intelligent wit. The best way to learn about volunteering in Central Park is to attend one of our Volunteer Open House sessions. You'll learn in great detail about the many volunteer opportunities Central Park has to offer, and the commitments involved with each one.

Conservancy staff members and veteran volunteers will provide information and answer questions. After the Open House, you'll have everything you need to decide which option fits you best.

Please note: All prospective volunteers over the age of 18 are encouraged to attend. Attendance is required in order to become a Greeter or Gardener's Assistant. Questions: Join us for the world premiere of Anna Craycroft's stop-motion animation film, which the artist constructed by shooting new footage weekly in her exhibition "Motion into Being.

Following the screening, a lively conversation with art historian Gloria Sutton unpacks Craycroft's project and examines the ways that animation—the movement of images and bodies—articulates new questions about sense and meaning within contemporary digital culture. Using a historically specific twentieth-century apparatus Max Fleischer's Setback Camera and Walt Disney's Multiplane camera to not only capture images over the course of her residency at the New Museum, but also to interpolate the material culture of more contemporary imaging technologies, Craycroft builds an accretive, time-based examination of personhood and anthropomorphism.

The resulting animation demonstrates how our understanding of personhood is comprised of complex and often contradictory attitudes, expectations, and definitions.

Distinct from the ways that early twentieth-century European avant-garde film advanced narratives Somethin - Brous One - Consequences (Cassette "failed vision" and "enlightenment" within the transformation of modern life, this conversation reconsiders the aesthetics of abstraction and experimentation that are beholden to an ethics of contingency and fragmentation within contemporary culture.

Anna Craycroft was born in Oregon in and raised in New York. The accessible format enriches audience understanding of classical music for the newcomer and seasoned listener alike. Reunions: Graduates of the Classes of,,, and — Brooklyn Law School May 10, — Brooklyn. Visit our Online Alumni Directory to search for your fellow classmates and make plans to reconnect at the Reunion. The show comes to Merkin Concert Hall after sell-out performances at St.

Ann's Warehouse and Symphony Space. Music is led by jazz legend Jay Leonhart and the 1-Train Band. Straight from the tap, Freddy's Bar and the Divas of Opera on Tap bring you the Home Brewed Opera series: funny, engaging, immersive operatic concerts in a casual setting.

Raise a glass with the premiere dive-bar opera company of New York and beyond! Chance Encounters is an improv jam where a dice roll determines the number of performers on stage. Lauded as one of the great guitarists of her generation, Courtney brings equal command as both a singer and writer.

Her songs are ruminations on her travels; luminous melodies interwoven between guitar and voice. Make a homemade Mother's Day card for your mom. The library supplies all the materials, you supply the love. A program of intimate music for a variety of voices and instruments, ranging from the Baroque to the modern, is performed by Adelphi music students.

Learn more about the cultural significance, survival strategies, and ecology of spring plants. Guided by a High Line gardener, you'll visit spring favorites and native species, from candy-striped tulips to pearly-petaled native twinleafs.

Learn how to make Sushi rice at home, then how to prepare and make your own Sushi rolls using the rice you made. You will also learn to make Dango, a sweet rice dumpling dessert.

Midwood's Out of the Narrows! Each member of the eclectic supergroup Midwood contributes a mastery of myriad styles, resulting in the band's unique sound. Midwood traverses rock, avant-garde, free improvisation, classical and Romanian folk music — all finding a place in the expressive language of klezmer. This lively concert celebrates the release of their debut album on Chant Records, Out of the Narrows!

Featuring Jake Shulman-Ment, violin; Yoshie Fruchter, electric guitar; Richie Barshay, drums and percussion; and special guest Eleonore Weill, vocals, flutes, hurdy-gurdy. Robben Ford is one of the premier electric guitarists today, particularly known for his blues playing, as well as his ability to be comfortable in a variety of musical contexts.

The International Coffee Hour at the Center for Global Engagement is a time for social interaction and is also an ideal environment for the expression of ideas. The monthly event also enables students to meet new friends out of a classroom setting. Moreover, students interested in studying abroad are encouraged to join this gathering so that they can begin to understand more about the world through discussions with people from different countries. Everyone is welcome to bring their own music and pictures from their own countries to share.

Refreshments will be served. Call the Center for Global Engagement at This concert features the students studying dance during the Spring semester in an end of term concert. Ready for beauty beyond all measure?

Come feel the fantasy and lose your minds as every kind of performer in the drag universe does whatever it takes to shock and amaze you.

Club queens, daddy kings, gender-free stripers, art monsters and more will be letting it all out on stage for your applause. Free All Night! This is a group hallucination and you're invited. We give you the classical icon Steve Reich's minimalist masterpiece "Drumming.

The outcome is group synesthesia. Through the use of video projections, dance, and aerial, guests will find themselves inside of the phases and experience themselves out of body. Calling this immersive theater would be an insult to the project. Performed by Sandbox Percussion and House of Yes company dancers and aerialists.

Discover the surprising diversity of birds that call Bryant Park home during migratory season with guided tours. Located in the heart of midtown, Bryant Park is a hot spot for avian visitors and birders alike. Past sightings include warblers, tanagers, vireos, thrushes, and even a Chuck-will's-widow!

Some might say stand-up comedy is predominantly male. Well, let's change that. We'll take the first 8 comics. Sign up at pm and starts promptly at pm. In an era of fierce culture wars, many Christians believe that the best way to preserve their faith and way of life is through withdrawing from the public sphere, using the analogy of the monastic life. Gregory Wolfe argues that a better model for these times is that of Christian Humanism, exemplified in the person of the great Renaissance scholar, Erasmus.

Both yearned for more of the album's fiercely social stance, and strange, narcotic soundscapes, and decided it would be up to them to create more of it themselves. Join us for panel discussions on the Future of the Icelandic Language with a keynote presentation from the President of Iceland, Mr. The Temptations and the Four Tops — St.

George Theatre May 10, — Staten Island. Two legendary supergroups — together again! The Temptations: For more than fifty years, The Temptations have prospered, propelling popular music with a series of smash hits, and sold-out performances throughout the world. The history of The Temptations is the history of contemporary American pop. An essential component of the original Motown machine, that amazing engine invented by Berry Gordy, The Temps began their musical life in Detroit in the early sixties.

An avalanche of hits followed, many of which…"My Girl," for instance…attained immortality. Beyond the fabulous singing, The temps became known for smooth stepping and flawless presentations. The Temptations Walk became a staple of American style.

Flair, flash and class. Millions of fans saw their Temptations as cultural heroes. When the sixties and seventies turned political, The Temps got serious.

They changed their tone, dress and music. Producer Norman Whitfield led the way. His Temptations hits, many featuring Dennis Edwards who had replaced David Ruffin, burned with intensity. No matter the change in personnel, The Temptations remained true to The Temptations tradition.

They survived the whims of fashion, whether disco or techno, and stuck to their guns. An Emmy Award followed. Then came a series of acclaimed records: Temptations Miniseries, Number 1 rated for two nights. Nominated for 5 Emmys, including best miniseries and winner of 1. For Lovers Only, a collection of love standards, termed an instant classic by critics, remains among the most cherished of all Temptations recordings.

Phoenix Rising, went through the roof, a platinum-plus mega-hit featuring "Stay," the Narada Michael Walden produced song that topped the charts. Ear Resistible, nailed a Grammy and a legion of new fans.

Awesome, released in is The Temptations at their freshest, strongest, and most appealing. Reflections, was released innominated for a Grammy and brought to the world The Temptations versions of some of Motown's greatest songs. We're about singing straight-up soul. It's a style that will live on forever. Terry Weeks, who grew up in Alabama and spent eight years in the Air Force before his chance encounter with Otis.

After an A Cappella audition on a Hollywood street corner; Otis was so impressed and brought him into The Temptation family. Larry Braggs is passionate, powerful and very spiritual. These are also the amazing attributes of the voice of this two-time Grammy-nominated artist. Cut from the same cloth as some of the world's greatest vocalists, Larry has one of the most notable voices in the business. With a vocal range over three octaves and a command of the stage like no other, Larry has become one of the most electrifying entertainers on tour.

This has gained him the respect and praise of his peers and fans all over the world. Willie Greene is a Bass vocalist who was born in Birmingham, Alabama. This opportunity to become a part of the "Great Temptation Legacy" is truly God's greatest musical gift to me!

I would like to thank Mr. Otis Williams for his tenacity in keeping the group together and granting me this opportunity! Our past is filled with riches only a fool would discard. At the same time, we thrive on competition. As a Motowner, I grew up in the most competitive musical atmosphere imaginable.

But we also understand that for a group with history, no matter how glorious that history might be, reinvention is the name of the game. It's just that we have been tested time and again and keep coming back. Someone has watched over this group. Someone has protected our integrity. Someone has said…just go on singing and it'll get better.

The Four Tops: The quartet, originally called the Four Aims, made their first single for Chess inand spent seven years on the road and in nightclubs, singing pop, blues, Broadway, but mostly jazz—four-part harmony jazz.

When Motown's Berry Gordy Jr. That proved short-lived, and Stubbs' powerhouse baritone lead and the exquisite harmonies of Fakir, Benson, and Payton started making one smash after another with the writing-producing trio Holland-Dozier-Holland. Their first Motown hit, "Baby I Need Your Loving" inmade them stars and their sixties track record on the label is indispensable to any retrospective of the decade.

Their songs, soulful and bittersweet, were across-the-board successes. Their commercial peak was highlighted by a romantic trilogy: the no. The following year they were at no. Though they would no longer have hits on record, the group continued to be a hit in concert, touring incessantly, a towering testament to the enduring legacy of the Motown Sound they helped shape and define.

Following Payton's death inthe group briefly worked as a trio until Theo Peoples, a former Temptation, was recruited to restore the group to a quartet. When Stubbs subsequently grew ill, Peoples became the lead singer and former Motown artist-producer Ronnie McNeir was enlisted to fill Payton's spot.

Inwhen Benson died, Payton's son Roquel replaced him. Their music is forever. Come out for an evening of stories, games and crafts. Each child will leave this program with a free book. The Bones of J. When Jonathon Robert Linaberry needs a break from city life, he goes Upstate, near the Catskills, to renovate a little farmhouse he purchased a couple of years back.

As he pours himself into his work, J. His only focus is the house. Jones is its own form of isolation. But you wouldn't immediately think so: As a one-man band, J. That's because J. The Early Learning Program PreK—K at BASIS Independent Manhattan takes place in a highly engaging, curiosity-infused classroom expertly led by nurturing, passionate teachers who understand the incredible cognitive and emotional growth that develops during early learning.

Featuring a live score from Tenth Intervention! The film will be presented without sound or subtitles. This dedicated team of volunteers perform a variety of different projects throughout the Park.

The group meets at a different location every week helping in a variety of landscape and horticultural projects. Regardless of physical ability, there's something for everyone to do. Register online or call for more information. Discovery Pack, 12—3 pm: Prospect Park Alliance invites you to get inspired by nature with our Discovery Packs, a ready-to-go kits filled with nature activities for families.

Bird Nerd Game Hour, 1—2 pm: Learn about birds and nature in this fun, mildly competitive hour of puzzles, Bingo, card games, and more! Animal Encounter, 2—3 pm: Join Alliance Naturalists in learning more about the animals in the Audubon Center's collection.

This program starts promptly at 2 pm. Nature on the Go! This program leaves promptly at 3 pm. They are a show AND two humans. The underground comedy scene of NY has many unique and wonderful shows, but few that strive for diverse voices, stories, mediums and FEELS to be highlighted and praised.

We aren't just a show, we're a SOUL. Living, breathing, learning, loving and growing. We guarantee all the love, peace, oneness and laughter.

Nick Perri's star-studded music collective comes together this May for a string of east coast dates. Nick will be joined by Walt Lafty and Brian Weaver, who will be appearing together for the 1st time since Silvertide disbanded. Cassidy Catanzaro is a grammy nominated songwriter, and former singer of the platinum selling group Antigone Rising.

Nick has stated the band's setlist "won't disappoint". The Long Island Business Expo is a one-day event designed for business owners and executives of small and mid-sized businesses to gain access to high-level education and growth opportunities. This is a must-attend event for our business audience. An intense workout fusing martial arts, fitness, moving meditations and inspirational conversations to strengthen your body and mind.

Redefine your belief in yourself, learn to be present in the moment, quiet your mind and become aware of your inner strength. The Golden Girls Bingo — Q. All your dating tips come from Blanche. You wish you had comebacks like Dorothy. That means one thing. Drop the cheesecake, put on your best 80s outfit and fan gear, adjust those shoulder pads and come play bingo!

Learn what makes NYC an important bird area, why observing birds matters and some tools for bird watching. On the walk, get expert advice on binoculars usage and learn how to spot and identify birds. Join urban naturalist and environmental educator Gabriel Willow to explore the surprising diversity of wildlife and ecology in New York City.

Sessions include a minute lecture followed by a minute bird-watching walk in nearby Central Park. Bring binoculars if you have them! Lisanne Tremblay's latest project Ecdyses explores the ongoing processes of self-transformation through a journey that travels organically from various world music inspirations to free collective improvisations.

Her new ensemble attempts to push the boundaries of instrumental roles and navigates through a renewed sonic world of intricate textures to express shared human experiences such as vulnerability and strength. Her distinctive approach captured the attention of many through her debut album Violinization, which was released in on Greg Osby's Inner Circle Music label. For decades, Eliot Weisman was an advisor, a confidant and at times a psychiatrist and protector of some of the most notable names in entertainment.

Sinatra was his "Boss" from through Weisman shared with Sinatra his most transformative memories and came to know Sinatra's friends and family intimately. Join us for a candid and eye-opening inside look at the final decades of Sinatra's life told by this longtime manager and friend. Join director Francesco Carrozzini for a screening of his film Franca: Chaos and Creation, an intimate portrait of his mother, Franca Sozzani, the legendary editor in chief of Vogue Italia.

For 25 years, Sozzani's magazine covers have broken rules and redefined concepts of beauty. Featuring interviews with Karl Lagerfeld, Bruce Weber, Baz Luhrmann, Courtney Love, and others, the film is deeply insightful and emotional, like a love letter from a son to his mother. From the Stanley Brothers to the Soul Stirrers, the quartet draws from an array of traditions in crafting their smartly arranged, delicately articulated originals.

Join them in celebrating the release of their first full length record, "Chosen Peace" available for purchase at the show digital release early We have increased security measures across all of our Madison Square Garden venues and are working closely with local law enforcement in New York. In order to ensure that everybody can enjoy an unforgettable and safe experience at Madison Square Garden, we kindly ask you to consider the following precautions when coming to our venue We ask that all fans significantly minimize the number of bags brought to the venue.

We recommend fans do not bring backpacks, as they slow entry during security checks. If you do not have a bag, please take advantage of our No Bag Express Lines, new this season, and located on the 31st street side of Chase Square Please plan ahead and allow yourself enough time to pass through security. Doors will open earlier for certain events to make this necessary procedure as efficient as possible We recommend using the Chase Entrances on 8th Avenue between 31st and 33rd for entry when possible.

This will allow you to enter the venue faster and more conveniently. The Conservatory of Music student-musicians present chamber works for wind and brass instruments. Seeing Rape. Original short plays about sexual violence written by John Jay students. This event is part of the Sexual Justice Now!

Described as a high energy comic Chris Distefano acts out a variety of characters derived from his life typically leaving you on the edge of your seat wondering "Who the hell is that he's talking about?

Chris still lives in Brooklyn NY with his Mom punch line. Chris has a Bachelors degree in Psychology to impress his mom's friends and a Doctorate in Physical Therapy to impress his Moms friend's Moms. When he's not making witty remarks like the ones you've just read or transforming into various personas on stage you can find him stretching people's hamstrings and getting yelled at to clean his room.

Learn about healthy, vegetarian cooking. Many people claim they are "allergic to salad" — a convenient and understandable excuse in the era of industrialized food and pre-packaged, uninspiring food choices.

This class will help combat this widespread "allergy" while increasing skills, technique, and familiarity with healthy foods. Then YOU — the audience — get to vote for which character goes into a karaoke show down! We will open up a forum allowing Accounting majors to share insights in their industry, opportunities, and requirements needed to succeed in the accounting industry.

High concept. This show is all of this and more. Ne me crois pas? Just listen to what the reviewers have to say: "I'd give it two thumbs up if not for the accident last month in woodshop. Now I can only give it one and a half" — Mr. Lubshnick "It provided a much needed distraction from thoughts about my son, Daniel's, suicide. Capretta "How did you get this number? Stop calling me. If there is artistic frustration in the collaboration, the answer is to get past it, to find what the work is about and see what the investigation gives us.

Improlab with Tess de Quincey, Jim Denley, Amanda Stewart and Chris Abrahams and others, was a series of totally improvised works which ended up being the most satisfying and challenging of events, the ultimate in collaborations. There is no beginning and end to improvisation and it is impossible to encapsulate, it can only be a live experience. Improvisation is not always the best form of entertainment for an audience and there were varying degrees of success with the De Quincey Co Improlab tour.

Again, to work with someone with so much experience a founding member of Les Ballets C de la Ban interest in psychology and huge energy and imagination, fuels your own energy to work. One thing would lead to others. It was a risky piece and Hans had enough on his plate dealing with the dancers but he still had a mountain of video ideas he wanted to work out.

In the two-day development period in Bundeena we shot about six hours of video performance ideas—most of which never made it into the show. But through that process I could see how he understood performance and video. Nomads took only two weeks to create but the speed of working, in combination with improvised video, seemed important, because these days, with limited funding, you have to work fast and very well to keep the work alive and to compete with the large scale works seen in festivals.

Each work is an inspiration. It becomes, in the absolute sense, the world I am living in. I spend far more time in projects than I do anywhere else. Sometimes the Album) is hard if I start a new project the day after another finishes, but I think this adapting to new territory is nothing compared to, say, being a soldier in a war.

I see the work as a filmmaker. The performer is the subject of the projected film, it is sculpted around them, where they travel. I learn from them as a filmmaker learns from their subject. I am part of their journey, and I try to illuminate their passage.

But in terms of working with independent performers, the work is in progress and I help find the answers to their questions. To work alone is not so satisfying, I need other encounters to shape my path. The main notion is that space is a series of interconnected links, like a nest. With conceptual forms similar to ant nest architecture, I am interested in making connections between these found spaces and people.

The compositing and animation process is digging the tunnels, to try to make connections between subject and space, and also to make connections between them as newly invented, discrete entities. Like many, I despise technology, but I embrace it because it is the dominant vice of society. Film has magical power, sets of parameters and tools with which to attempt to express our dreams, but its power is hard to wield.

My relationship to it is experimental: the results come from an outside force. The benefits are like travel: film can reconfigure and make impressions on the mind. Of course, film can also be escapist, but for someone who is not good socially, what a great escape! It makes the world seem bigger, more complex, yet reconfigurable.

Its language helps me to make sense of experience by piecing it all together in the editing. I use compact mpeg video cameras for most of my capturing because it is immediate and real, and this format also has greater potential for animation, for me a great cross-over between worlds real and fantastic. My collaborations are the most transient part of my work, lost in almost all aspects after the live act. Preservation of an event is another thing, it is possible to make it greater than the actual event, through nostalgia and distance things seem beautiful in their disappearance.

I think this is also the real relationship to all this technology. C proposes applying healing principles from traditional Chinese medicine to the body, mind and soul of New China. This ambitious concept is explored through highly energetic, virtually non-stop movement.

He engages with a low-positioned projector to create a series of fantastic visual effects with and on his body.

When the apex of split and mirrored cityscape footage aligns with the centre of his chest, he appears to speed through time and space. Later, his form becomes a pulsing network of multicoloured meridian pathways. Yeung is constantly tethered to the audio-visual components of his production. For the most part, his synchronisation is a testament to his supreme discipline as a physical performer.

On the few occasions where his timing fails I am conscious of watching a routine that has, perhaps, been too strictly choreographed. As a dancer, Maitra is more accessible to her audience than the disciplined Yeung. Her body is the primary tool of communication and accordingly her movement, rather than any other element of the production, holds full attention. Though her curvaceous form is veiled in a full-length crimson dress, Maitra moves articulately, full of femininity and strength.

The influence of Odissi and Serraikella Chhua, traditional dance forms derived from martial arts, brings qualities of the warrior to her often earthy and primal physical expression. These are disparate performances exploring the flexibility of dance as a communicative and inherently visual medium providing raw insight into the potential of two rising contemporary dancers.

Framed this way, the power of the collar to confer and express identity is inescapable; these swatches of fabric expand in our imagination into whole characters. The sound field and the hovering collars give the work a heightened sense of spatial depth and interrelation; a network aesethetic, but one that is also absolutely material, made of wire and fabric, punctuated by the solenoid clicks of the switching circuits.

In the Naturalism08 series Fortescue scans scraps of newsprint and packaging, then passes the source material through a set of geometric rotations and reflections. Structure inevitably emerges from these abject, crumpled things; what started as meaningless form acquires a sense of organic integrity. The results are visually seductive but suggest an ambivalence about form, structure, even beauty; if it is just junk with a dash of symmetry, where does this leave us?

Q, a cheap print of the Mona Lisa with a pencilled-on moustache, is the best-known example. Fortescue digitally rectifies his modern readymades—extrusions from the networked collective consciousness—decimating the face of each Chris into a pixel grid, slicing and transposing discs from the Roads.

These minimal interventions throw the found images off balance, leaving the viewer suspended in their sense of hybrid, decentered agency. In Resettings Fortescue has wrapped rocks from the site of Double Negative in metres and metres of Krasinsky-blue tape. The resulting objects are intense sculptural forms in themselves: taut, shiny little capsules of…what? In the accompanying essay the artist teases out the network of resonances, coincidences and nodal events that unfold from the work; it becomes an expansive meditation on the mingled, tangled causalities of being in the world, against the simple-minded fiction of intention.

Visually the work is barely there: two white walls—in fact giant resonators—each with a single, shiny speaker cone embedded. Even sonically the amplified air con is a diaphonous pillow of sensation, apparent only on close listening. The work tunes us in to the edges of aural perception, pushing the background forward just enough so that, suddenly, we hear it everywhere. Like the crumpled chip packets in the Naturalism prints, air con noise is waste, chaos; but acoustically, noise contains everything, all frequencies, all possibilities, all structure.

Very Canberra, really. Both shows work within a poetic medium to explore the tensions between, and destinies of, a husband and wife. However where Night Songs plunges into a vein of unknowing, Dinner in a Dry Dam discloses all its secrets before it begins. It is perhaps a strategy to facilitate access for rural audiences less inclined towards the poetics of ambiguity.

I hear sounds of the sea and a dialogue about absence and presence. Each cell offers up a morsel of memory—projected phantasms exuding warmth, the woman who writes, the woman who waits in a womblike pod of shadow—each mockingly occluded behind sculptural white forms that shine luminously cold under UV light. Elsewhere her image points and laughs in endless repetition.

Drumming builds and a male voice describes a more external journey, his love for the sea, his longing for return, the letter he begins when the winds become still in some remote ocean. Besieged by a perilous calm, adrift on his own dreams, the unfulfilled adventurer is denied a triumphant return, his loved ones refused the satisfaction of a heroic battle narrative, the heartstrings connecting her life to his just slacken and ebb in a sinking oblivion.

The scenario resonates with the plight of war widows; of veterans lost to despair rather than to enemy fire; and with their would-be heroes, soldiers becalmed in a purposeless enterprise, the winds of a morally righteous crusade knocked out of their sails by a more cynical truth. The event occasions a domestic drama that pits pioneering tenacity against the creative courage to embrace change. At the core of this is the will to inflict death, a blood sacrifice of the last stud ram, for the sake of resurrection into new possibilities.

The starting point for this contemporary opera, described by director Jude Anderson as an elegy to the last great year cycle between droughts, was to relate the tension between certain musical intervals to the dramatic tension between the couple. The libretto is the culmination of community interviews giving dramatic voice to the rural tragedies we often gloss over. Despite avant-garde sonic experimenting, humanity and drama snap sharply through the sparse team of mezzo-soprano, tenor and double bass.

The fictional device of the opera singer helped to elevate the material, validating the use of high cultural form without alienating its primary constituency. Nothing is left to experience afresh. From beyond the dam banks you will hear a gunshot. That shot will mark the end of a bloodline. I will have killed our last remaining ram before walking off our property and closing the gate. And at the ringing out of her gunshot offstage we watch him—a blank, unflinching figure—in vain, for evidence this blood sacrifice will indeed prove a gift of life and not a living death.

The winning tender is likely to be announced in April. Managed by Youth Arts Queensland YAQSpark aims to establish young artists within the arts industry through intensive professional development workshops, individual project development and relationship building between senior and emerging practitioners. The outcomes of Spark however are multi-faceted and for many participants the value of the program goes far beyond its aims.

Taking on the responsibility of teaching kids jazz dance in Cape Town when her teacher became ill, she was able to develop her technique and experience life as an independent community arts worker. Ever grateful to her past mentors, Dupagne acknowledges that they were ultimately one-way training relationships. Her mentorship with Jenny Simpson, Director of Awesome Arts in WA has been much less directive and has essentially networked Dupagne into the community arts sector, positioning Spark as a program that assists artists who are self-motivated and entrepreneurial.

At the onset of the mentorship Lim and Champion established a rapport that was collaborative and equal, rather than directive. Champion would spend a full day per week workshopping ideas and engaging in critical feedback with Lim during his two-month residency period at Performance Space, where he was working on a solo physical theatre piece, Out of Body Experience. Dyer and Thoms also curated and produced the Tiny Stadiums Festival, a City of Sydney funded project incorporating performance art, live art and interactive installations throughout the streets of Erskinville in March.

She sees Spark as encouraging equal creative exchange, but is quick to acknowledge the benefit of working with senior practitioners such as Caitlin Newton-Broad who, through years of experience, can offer insight into tried and tested methodologies when making new hybrid projects. The creative possibilities of collaboration and cross-fertilisation were not lost on the other participants, and it was through their collective initiative that Spark Plug, a workshop and presentation event was conceived.

The forum nurtured complex debate and peer recognition, an unexpected but highly valuable professional and personal development outcome of the Spark Program. Joon-Yee said participants throughout the six years of Spark were unanimous in their opinion that workshops run by mentorees for mentorees had been extremely valuable.

For example a video artist would teach the group valuable editing and shooting skills giving artists an opportunity to step outside their own practice, even though interdisciplinary collaboration has not been a strategic aim of Spark.

It seems the value of exchange in Spark goes far beyond the mentor-mentoree relationship. Depending on the participant, contact with other emerging artists and mentors can mean an entirely new creative direction and the cementing of partnerships and collaborations across the country and across disciplines.

It incorporates text, dance and image material, as well as music and sound through the use of loop stations and live sound looping software. For Hudson, this project offers an exciting opportunity to work within contemporary performance. Spark enables these connections to take place. However, to address the gap in networking opportunities on a national level for emerging artists, perhaps workshops such as Spark Plug should form part of the future strategic directions. The bodies, sounds, light subtly but consistently disperse out of sync, swarm in and out of coherence.

Cascading figments of feminine choreography are performed with clarity and focus, but then collapse into stretching exercises, long breaks in the wings, memory gaps. Mellow will dance in unison with her own shadow on the screen, dark, gigantic and precise, yet the two keep falling out of sync. A screen separates the dancers from the audience, creating horror-like, sublime remoteness. The imaginary surroundings rotate frivolously from a catalogue of 19th-century painted sets into a thick rain of falling roses; yet all, even the smoke effects, reveal themselves as mere projections.

Our speech-privileging culture forgets that mnemocultures like the Sanskrit textual tradition or Aboriginal songlines rely primarily on the mnemonic potential of gesture and music to preserve knowledge. Every performance of such a mnemotext is a singular recreation ex novo, making mnemocultures perhaps more at ease with the fleeting, unstable nature of dance, the most ephemeral of arts.

Taking it one step further, Parker explores the retrieval errors that occur as memories fade or morph, and residual marks, traces of the unavailable past come alive. Loose threads of possible narratives appear as the dancers perform a balletic pas de trois: Hollingworth and Peters with ornamented grace, Mellow with an almost masculine, heavy, streamlined simplicity. How have their paths diverged? Out of Light, kept together by a strong backbone of clarity and precision, never dissolves into impressionist muck.

Amidst the conflicting lights, changing angles, confounding music cues, the three dancers pick up their moves with absolute intent. Tiredness creeps in, yet the body endures, the rhythm is preserved, the woman behind the choreography stands tall and victorious. Memory and desire are inseparable: the drive to preserve the past in the future, salvage creation from extinction, is an act of pure will.

Parker sings praise to the strength that emerges within the freedom of unstructured memory. Building up the precision of learned movement, never succumbing to approaching fatigue, bodies tortured ever closer into structured, perfected violence, the piece is suddenly dramaturgically transformed by the unexpected addition of fairy costumes, classical movement and an entire baroque proscenium arch.

Prior to a packed out industry drinks night in the foyer of the Chauvel Cinema in Sydney, Metro Screen showed a program of its short films, celebrating two wins in Tropfest In the whimsical The Last Cherry director Lisa Kowalski; Raw Nerve program a shoolgirl virgin decides it's time to have sex and hires a stud who turns out to be as innocent as herself. Visually vivid and pop-videoish, and burdened with a taxing over-talkative voice-over, The Last Cherry works as either a naive or quite perverse take on the self-help film, wickedly creating more problems than it can solve.

Director and crew are played by performers in their early teens, broadly aping adult behaviour and film industry stereotypes. A Tenor's Tale director Brendan Roberts as part of Certificate IV in Screen is a straightforward documentary about a young man of partly Maori origin who rises from a despairing life on the streets of Sydney to a career Somethin - Brous One - Consequences (Cassette opera, finding his mother and extended family on the way.

The singer's self-belief is almost overwhelming. His recommendation to 'just be yourself' in order to succeed doesn't altogether convince, given the nature of his former self although we're spared the details.

Instead of 'overnight success' myth making, A Tenor's Tale could have committed to probing just how the singer's talent was discovered, how he developed his voice and how his performances have been received.

Instead we see him serenading tourists outside the Sydney Opera Somethin - Brous One - Consequences (Cassette. He certainly can sing, and the film is ably made, but begs a few too many questions. This is 'Lexo' has been created from within a Sydney suburban community, Maroubra's Lexington Place, in a one-day filmmaking workshop.

The participating youngsters ask older residents two characterful men who hint at their prejudices and problematic backgroundsyoung toughs and curious children their opinion of the place. A chatty, well-dressed young man with Down Syndrome irritates another young man while charming an attractive woman. On boarding the bus our charmer pays for and hugs the other man, who turns out to be his presumably embarassed but possibly loving brother. Economically staged and shot, and convincingly acted, Be My Brother manages to suggest much about its characters while generating both humour and tension.

The screening selection on this Metro Screen industry drinks night revealed the various levels of ambition and accomplishment you'd expect as emerging filmmakers make their inevitably bumpy way to not just proficiency but insight and quality—some are well on their way, others are finding out just what it takes. But in each iteration a new element is fed in. The boy Rowan McNamara as Samson listens to the radio, cutting out the local noise, tuning into the Green Bush program for those, like his father, in gaol.

The girl Marissa Gibson as Delilah shuts herself in a car, immersing herself in the lush romantic music of the Mexican singer Anna Gabriel. Few words have been uttered. Few more will be said. This is a world of little change, its cyclical images etched into our consciousness, gradually assuming symbolic power—the same objects, the same movements, the same sounds.

These gradually accrue great emotional weight—wheelchair, ringing phone, dot paintings, a song, a simple crucifix in a church—Thornton, his editor Roland Galloislocation sound recorder David Tranter and sound designer Liam Egan subtly modulating the way we see or hear them.

In a film of few words, the sound design and concomitant sound worlds associated with the characters become keys to our emotional relationship with them. Things happen that interrupt the cycle.

Samson sees Delilah outside the local store. At night he sits in a wheelchair in the middle of the dusty road as a huge SUV drives towards him, but does he hear it?

She smiles a rare smile. Her music, his body. Thornton builds an incipient relationship out of watching and listening. She throws it over the fence. He wanders off to a sandy gully, digs a hole which fills with water, sinks dreamily into it, finds himself suddenly face to face with a kangaroo, kills it and takes it back to Delilah. In the meantime, one morning Samson viciously assaults the guitarist.

One morning Gran dies. Delilah is falsely accused by relatives and neighbours of not looking after her. She shears away her hair. The daily ritual is over. Samson and Delilah are soon outcasts. The sense of daily ritual in the first part of the film, of a depleted but oddly stable everyday life, portrayed in recurrent visual and aural images and small variations, is immersive, and an inventive lateral approach to narrative.

Thornton builds a world rather than simply telling a story. Then he shatters that world with sad and brutal disruptions. The extreme fall of the young pair into a numb hell is deeply painful to witness, Delilah unanchored without her Gran, Samson sinking further into his addiction. But what follows that is truly unexpected. There is a moment when the film appears to complete itself, when it looks like survival is an option for the pair, but Thornton pushes beyond mere gesture to a third movement, a new reality for Samson and Delilah, one replete with images from the first—cross, kangaroo, wheelchair, music, dot painting, hair.

This suggests a conclusion that is above all symbolic. Thornton himself is emphatic that Samson and Delilah is, above all, a love story. Rather than despair he intimates hope through individual action and mutual caring.

Save for when the pair are at their lowest ebb, we believe in the love between Samson and Delilah simply from the ways they look at each other, their wordless togetherness, from first encounter to tentative courtship and shared escape.

Samson and Delilah won the Adelaide Film Festival Audience Award see editorialno mean feat in an era of alleged audience wariness of grim Australian feature films.

But Thornton pushes even further than Sen into the psyches of his characters and evokes, from two small lives, a much larger cultural picture. No one answers the insistent phone that calls for help and connection. Not until Delilah picks it up. What follows is a very lateral series of transformations: from Warby in ballet whites to Warby in stylish, dark-side blacks; from onstage performer to shadow dancer; to Warby dancing with video Warby; to Warby as off-kilter mock-marching preth century soldier shouting out gruff French-ish instructions; to Warby as dancer-cum-bird.

Throughout, the cello changes mood, from lyrical to pulsingly minimalist to stridently orchestral and then elegiac as dancer and bird images begin to fuse. Staccato moves in her choreography likewise heighten the connection, suggesting our deep kinship with other species. The anti-gravitational appeal of dance is, of course, like our dream of flight and winged selves, but here the embodied connection goes deeper.

Meanwhile the interpolated world of shouted orders and marching bizarrely parodies the soldier figure in classical ballet, here a wounded containment of dance, a restriction of all that sings, flies and flows. The bringing together of very different musical cultures in dialogue, juxtaposition or fusion can be challenging for musicians and audiences. While musicians are likely to enjoy a period of adjustment and assimilation, for the audience the experience can be a one-off, aural shock of the new.

They acknowledge particular inspiration gained from composer and national living treasure Zou Xiangping. What follows is my humble attempt at recollection of some of the works from an engrossing concert. Built around gong and cymbals the work engenders rich textures from seemingly limited means, adding timber percussion, then skins, erhu and flute, long bass notes, a call and reply passage, and an epic march to the end.

Each section of the work is given to a month and a corresponding activity: in January, play with dragon kites; in April, plant seeds; in June, start to use fans…The year unfolds, the pulse quickens, the sense of celebration endlessly escalating in glorious orchestral communalism. The specifity of this collaboration—the focus on aspects of the Chengdu heritage—is particularly significant, the partnership giving longer life to threatened traditional forms.

And the music sounds so very good, strangely familiar by the end of the concert as very different musical languages find common ground through the capacity of avant garde music and jazz to accommodate rhythmic complexities and alien modalities, and as traditional musicians willingly engage with the new.

Zhong Kaizhi percussion ,? Zhou Yu erhu ,? His love for his film and for his principal characters was palpable, as was the certainty of his vision and the care entailed in his craft. KG I really enjoyed the film. You think what is this, does he hate her or is this courtship? Maybe Samson has a disability that he tries to hide. WT All the music was chosen before we started shooting the film.

But that piece of music gives a sense of place and style to the film. KG Obviously you spent a long time conceiving the film and seeing it in your head. Did you storyboard it extensively or script it?

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