#adult contemporary music christian 2017

[rachelreviewspopculture]

Little Women (2019)

A first for the blog: a guest post! The following is a review of Greta Gerwig’s Little Women (2019) by Carly Henderson.

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When creating a film version of a classic novel, one often wants to justify its existence by approaching the story with a new lens that appeals to its contemporary audience and differentiates it from previous film adaptations. The temptation with this approach, however, is to take a sub-theme and make it the overarching theme, or to misinterpret a theme altogether. The resulting film, then, is either off the mark or entirely antithetical to the source material. This is often what happens in modern adaptations of classic stories (Ang Lee’s Sense and Sensibility, Joe Wright’s Pride and Prejudice and Anna Karenina, Julian Jarrold’s Brideshead Revisited, and Netflix’s Anne with an E, to name a few), and is also the case for Greta Gerwig’s Little Women.

My opinion will be unpopular, as Gerwig’s adaption of Little Women has been widely received with praise for its creativity, innovation, liveliness, direction, and attention to the novel and its fresh resonance with a modern audience. And it’s true: it’s lovely to watch, overall well-acted, has an excellent score, and, I would argue, is the most bold and creative take on the classic story by Louisa May Alcott yet. Many commenters at the film’s release said that every generation deserves its own Little Women, and this version of Little Women is one that only a modern feminism could create and deserve (the film opens and closes with a salary negotiation between Jo and her publisher, the first scene ending with her acceptance of an unjust wage from her publisher, and the last ending with her fair negotiation, making her an equal player with the man). Even so, what makes it distinctive also makes it a denial of itself. Its modern lens overlooks and destroys the heart of the story, and its bold, artistic rendering ends up being a beautiful but empty shell, lovely to behold, but easily cracked and hollowed of its substance. And this is what we get with Gerwig’s Little Women: it’s a coming of age story that focuses on women’s empowerment, equal wages, opportunity, and creative genius at the expense of the growth and maturity of its characters. Alcott’s Little Women is certainly empowerment and creativity, but it is much more than this—it is at its core a story about growth, virtue, and a certain open receptivity before life that allows one to truly be creative and fruitful.

Though I may have criticism of the film overall, the acting in it is a masterclass: Saiorse Ronan is a force to be reckoned with; Florence Pugh makes the ever controversial Amy loveable (perhaps even more lovable than Jo, which is quite the feat), and Timothee Chalamet is a good Laurie, perhaps truer to the novel’s Laurie than Christian Bale’s portrayal in the 1994 adaptation (though his Laurie for me remains superior to all other Lauries). The film is not linear. It starts in “present” adult life, as Jo is in New York and Amy in France, and shifts back to childhood in flashbacks. This has a dizzying effect and can be difficult to follow, even for those familiar with the story. The advantage of this is twofold: on the one hand, the film seeks to take the adult versions of these characters seriously, where other film adaptations tend to give more time to their childhood; on the other hand, it bends the audience to favor a Laurie/Amy pairing from the beginning. This is a victory for sure, overcoming the long-held resentment about Amy, as many continue to think that Laurie should have ended up with Jo. And there is no doubt that Gerwig is technically excellent: the cinematography is beautiful, the music is beautiful, the costuming is beautiful.

But the film gets a great deal wrong about the novel, which should matter if one thinks that a film adaptation should try and capture the animating force of its original material, even if it is impossible to illustrate every aspect. I will limit myself to three points.

First, the film gets Beth all wrong. In the novel, Beth is the heart of the story. She is warm, sweet, and gentle, the one who has a special bond with Jo and the only one who can temper and correct her. Gerwig’s Beth is an odd recluse—apparently also a concert pianist—who is abnormally childlike and random, and without the warmth that is one of the defining traits of Beth’s character. She is often called “sweet one” by her sisters, but little is done in the film to communicate her sweetness. She whines and complains when no one will join her to visit the Hummels; she speaks like a 4 year old before the horses. And, above all, the warmth between her and Jo is not felt. Jo needs Beth to be herself to temper her fire and refine it to something more true, strong, and gentle. It feels as if Gerwig must reconstruct Beth because Beth’s quiet, gentle, and demure personality is not consistent with the idea of femininity as creative self-determination that Gerwig favors. Beth can’t be herself in this film because for Gerwig Jo needs no character arc: she has nothing to learn other than to be more forceful and direct. In fact, Jo seems to be the best of womanhood, forging her creative path and destiny with no need of anyone—not her father, not Prof. Bhaer, and not even Beth, which is in striking contrast to the book.

Aunt March’s character is similarly sacrificed to Gerwig’s particular ideal of femininity. Interestingly enough, Aunt March in this film becomes the aspirational model. In contrast to the book, in Gerwig’s film, Aunt March is the sister of Mr. March. This means she is not only unmarried and rich; she also has never been married, which for Gerwig means she has freedom and means. Let’s side step the question of how an unmarried sister inherits and keeps the family wealth, and note that the real problem here is that Gerwig’s Aunt March represents the only path to freedom for the March girls: money. Are we really prepared to declare that freedom simply is access to capital? That none of the girls’ artistic endeavors mean anything unless they indeed capitalize on them? Here it seems to me particularly clear that Gerwig unknowingly submits Alcott’s work to the architecture of late-stage capitalism.

Additionally, Streep’s Aunt March is a one-dimensional character, surprisingly enough for Streep. In the novel (and in the 2017 BBC adaptation by Helen Thomas), Aunt March is a tragic figure: a widow whose only child died in her youth, and one who says stupid things, but then later realizes it and has the humility to apologize. She therefore is a character of depth—that is, in the novel, she too grows and matures, whereas Streep’s Aunt March has no arc. Streep’s Aunt March is the woman to be: nothing to learn and dependent on no one.

These first two misinterpretations are ultimately the consequence of Gerwig’s misunderstanding of the novel, or perhaps better, her imposing her own (capitalist?) framework on Alcott’s work. In Gerwig’s Little Women, feminine agency is pure self-determination, self-construction, choice, and ambition (which is agency simply in a liberal, capitalist society). This is why Jo and Amy stand out in this film, and Meg and Beth only awkwardly fit in until they ultimately fade away (figuratively and literally, respectively). Indeed, the film’s overarching framework of women as creative, ambitious, self-directing and -constructing, cannot explain the beauty, dignity, meaning, and fruitfulness of both Meg and Beth’s lives apart from choice, precisely because their lives are very hidden, normal, and for all intents and purposes, without fiery ambition. Indeed, choice is the only way to understand Meg’s character in this framework (and which Emma Watson attested to in various interviews): Meg has chosen to be a wife, and this choice gives her life’s path purpose, meaning, and reconciles it with Gerwig’s feminism. Being a wife and mother in and of itself is not what gives her life dignity and purpose—rather it is her choice to do so that does. This problem also stands out in dramatic effect in Amy’s monologue (penned for this film) of marriage as an economic institution that depersonalizes women, as well as Jo’s similar understanding of marriage. Granted, marriage is an economic institution and this aspect of it was particularly felt in this time—but it is not solely an economic institution. It is a good in and of itself, formative for the person, and, above all, the form of love itself. In promoting the almighty reign of choice, the reality of love is undermined, and, ultimately, the true dynamism and variety of femininity is undermined.

But if domestic life is worthy of art and importance, as the characters reflect on at the end of the film, it isn’t because it is something merely chosen by women. We can make poor choices after all. It is rather because there is something inherently important and meaningful about domestic life itself. But if Gerwig were to admit this, it would undermine her framework of feminine agency, freedom, and choice, equality, and thereby, the whole theme of her film. We see this in the meta ending, which, despite the popular interpretation of the novel, is not ambiguous: in Gerwig’s retelling, Jo does not marry Bhaer. Why? Because she is told that she loves him; Gerwig’s Jo would never let anyone tell her how she feels and then stake her life on that (it is interesting to note that, in the book, Jo comes to realize, on her own, that she loves Bhaer, and her family gives her the space to discover this).

And while we are on the subject, I will add one final thing that the film gets wrong: Professor Bhaer. Sure, Louisa May Alcott may have written this character with tongue in cheek to stick it to her publisher for marrying Jo off at the end of the story—i.e., instead of a young, handsome man, Jo falls for an older immigrant, who is bear-like, awkward, yet sweetly endearing—but he is still a good and important character for Jo’s arc as both a woman and a writer. In casting (the strikingly beautiful, might I say) Louis Garrell as Professor Bhaer, Gerwig plays into the cliché ending that Alcott intentionally avoided. Gerwig’s point is clear, but made without the nuance and depth that Alcott gave both the character and the ending.

Whatever the case of Alcott’s original intention, the fact is, Jo becomes a true artist when she allows herself to be affected by others: i.e., when she allows Beth’s nature to temper hers, allows herself to be guided by the wisdom of her father, and allows herself to be moved by the wisdom and love of Professor Bhaer. This isn’t to say that she isn’t creative or independent; it is to say that creativity is always the fruit of relationship. Creativity does not come out of nothing; much like virtue and fruit, it is pruned out of us, sometimes painfully, by another and by life itself. This is what Gerwig’s tale misses, and this is ultimately why it is a deeply dissatisfying adaption.

[blackkudos]

Oleta Adams

Oleta Adams (born May 4, 1953) is an American soul and gospel singer and pianist known for her powerful and soulful voice. Discovered by Roland Orzabal and Curt Smith of Tears for Fears, they contacted her to invite her to join their band as a singer and pianist on their next album, The Seeds of Love and singing a duet with Orzabal on their hit single "Woman in Chains". Her album Circle of One received much critical acclaim, and eventually peaked at #1 in the UK in 1991 after her biggest hit to date with her Grammy-nominated cover of Brenda Russell's "Get Here".

Biography

Adams was born the daughter of a preacher and was raised listening to gospel music. In her youth, her family moved to Yakima, Washington, which is sometimes shown as her place of birth. She got her musical start in the church.

Before gaining her opportunity to perform, Adams faced a great deal of rejection. In the 1970s, she moved to Los Angeles, California, where she recorded a demo tape. However, many music executives were exclusively interested in disco music rather than Adams' preferred style.

With the advice of her singing coach, Lee Farrell, Adams moved to Kansas City where she did a variety of local gigs. She started her career in the early 1980s with two self-financed albums which had limited success.

Collaboration with Tears for Fears

In 1985, Adams was discovered by Roland Orzabal and Curt Smith, founders of the English band Tears for Fears, while she was performing in a hotel bar in Kansas City, Missouri, while they were on a US tour. Two years later, they contacted her to invite her to join their band as a singer and pianist on their next album, The Seeds of Love.

In 1989, the album was released and the single "Woman in Chains", sung as a duet by Adams and Orzabal and with Phil Collins on drums, became her first hit. Adams embarked on a world tour with Tears For Fears in 1990, performing by herself as the supporting artist at the start of each show, and remaining onstage throughout the Tears For Fears set where she would provide piano and vocals.

1990s

Following her work with Tears For Fears, Adams was offered a recording contract by their label, Fontana Records, and restarted her solo career in 1990, assisted by Orzabal, who co-produced her new album, Circle of One. The album received much critical acclaim, and (after a slow start) eventually peaked at #1 in the UK in 1991 after she scored her biggest hit to date with her Grammy nominated cover of Brenda Russell's "Get Here". The song reached the UK and US top 5 and became popular during the 1991 Gulf War conflict as families of deployed troops in the region embraced the tune as a theme song.1991 also saw Adams sign to independent music publisher Fairwood Music (UK) Ltd. and contribute to the Elton John/Bernie Taupin tribute album, Two Rooms, on which appeared her version of John's 1974 hit "Don't Let the Sun Go Down On Me". Adams' version became another top 40 hit in the UK.

Her next album, Evolution (1993), was also a commercial success, making the UK top 10. It also featured her self-penned adult contemporary single "Window of Hope". Her 1995 release, Moving On, saw Adams move more in the direction of R&B, and she also reunited with Roland Orzabal for the duet "Me and my Big Ideas" on the Tears For Fears album Raoul and the Kings of Spain the same year. Two years later she released the Christian themed album Come Walk with Me where she received a nomination for a Grammy Award for "Holy Is the Lamb" in 1997.

In 1998, she toured as a guest vocalist on Phil Collins's Big Band Jazz Tour.

2000s

In 2001, Adams released her sixth album, All the Love, a return to an R&B/Adult contemporary sound. The album was re-released in 2004 in Germany with a different title I Can't Live a Day without You.

In 2004, Adams reunited with Tears for Fears once again as she made a surprise guest appearance onstage at their Kansas City concert, performing "Woman in Chains".

On October 3, 2006, Adams released her first Christmas album, entitled Christmas Time with Oleta.

On April 21, 2009, Adams released her eighth album entitled Let's Stay Here.

2010s

On February 10, 2017, Adams released her ninth album, her first album in eight years, entitled Third Set.

Personal life

In 1994, Adams married drummer John Cushon at a United Methodist church in Kansas City, where they both taught Sunday School. They met in 1980 while working on a demo tape for Adams. Adams stated that she never had a passion to get married but on January 17, 1994 she and Cushon were involved in the Los Angeles earthquake. Adams referred to this as a sign from God that she was ready to get married.

Discography

Studio albums

1982: Untitled

1983: Going on Record

1990: Circle of One

1993: Evolution

1995: Moving On

1997: Come Walk with Me

2001: All the Love

2006: Christmas Time with Oleta

2009: Let's Stay Here

2017: Third Set

Compilations

1996: The Very Best of Oleta Adams

2004: The Ultimate Collection

Awards and nominations

Other Awards

Honorary Doctorate of Music from Berklee College of Music, 1994

[therealprincesszeanah]

My Decade in Books

I was tagged by @the-forest-library to outline my decade in books! It will be rough because I have been very hit or miss in tracking my reading throughout the years, but I will do my best. I can't remember how to make this a read more, so I apologize in advace for mobile users. If anyone reads through this bless you.

2010: A year of great highs and some serious lows. I was still in high school so I was plagued by the books from required reading lists, such as The Alchemist, Of Mice and Men, and Lord of the Flies. I also read The Lovely Bones at the behest of a friend, which I still regret because it was so awful and weird. But 2010 was also the year I read A Thousand Splendid Suns, and Pride and Prejudice for the first time! If I recall though, I did not actually finish Pride and Prejudice at this time because I was reading it for a book report and there wasn't time to read the last 40 pages or so and get the assignment done. I still loved it though. A Thousand Splendid Suns was an instant favorite and if I recall was my go-to response to "What's your favorite book" for the next couple of years. I also spent a summer reading Sarah Dessen books which is an eternal mood.

2011: Still in high school and still being required to read books that just Aren't Good, like The Scarlett Letter and The Dante Club. BUT this year the required reading had some great treasures! I read To Kill a Mockingbird for the first time, as well as Night by Elie Wiesel. In the summer I picked up one of the more "popular" books that came out that year from the library called Heart of the Matter by Emily Griffith and it was so dumb that I was pretty much turned off of contemporary adult lit for a good bit. I read a couple more duds that summer at the recommendation of a friend (The Penny by Joyce Meyer and Love Walked In by Maria Des Los Santos). This was also the year I read The Epic of Gilgamesh out loud to my brother (his choice 🤷🏼‍♀️) on our annual roadtrip to North Carolina.

2012: The year I devoured the entirety of The Hunger Games. I remeber borrowing them all from various friends at school and reading them late into the night each time, taking like 2 or 3 days total on each. The required high school reading list this year was still terrible, with The Awakening and As I Lay Dying making an appearance. This was the year I read Macbeth though and to this day that is still my favorite Shakespeare play. We also read The Posionwood Bible which I remember having a love-hate relationship with. It's one of the few books I want to go back to and see if I'll like it more now that I'm not being forced to read it. This summer was the summer me and two of my best friends at the time read The Guernsey Literary and Potato Peel Pie Society aloud to each other. To this day we still call one of my friends Clovis, after one the characters in that book. Another instant favorite. That summer my brother also attempted to start a book club, so we all read Abraham Lincoln: Vampire Hunter (his choice again) which I shockingly remember enjoying. Another book I surprisingly liked that year was One Flew Over the Cuckoo's Nest, which I had to read for a group project.

2013: This was a GREAT year of reading. The required reading list had some duds as always (The Master Buidler by Henrik Isben and Waiting for Godot by Samuel Beckett), but this year we read The Crucible which I LOVED. We also read Heda Gabler (Isben) which I actually did NOT like, but for the associated project my friends and I wrote a song about the play, then filmed and edited an entire music video in the span of like three days. So that was definitely a highlight. That summer I read a couple more duds, The Graceling by Kristin Cashore and Go Ask Alice, which I had picked up at a garage sale for a quarter. I also read Hosseini's newest book that came out the previous year, and while it wasn't on par with A Thousand Splendid Suns, it was still good. After that I really started LIVING. I read The Help (and cried), I read Anne of Green Gables for the first time (and cried), I read Mere Christianity by C.S. Lewis, and then ended the year with the most beautiful book, The Book Thief. I got it for Christmas and read it every second I had on our annual trip to North Carolina. I finished it in the car ride home and sobbed, much to the concern of my dad and brother.

2014: This is where my reading takes a serious nose dive as this spans the semesters in college where I was transitioning from majoring in pre-vet science into majoring in English. I read Twelfth Night in my first English Lit class in college, as well as Sir Gawain and the Green Knight, some Chaucer, and 2/3 of Evelina by Frances Burney, which I absolutely loved but time didn't permit me to finish this one until years later. That spring break I borrowed and read The Fault In Our Stars. That summer I borrowed and read The Kite Runner (still think A Thousand Splendid Suns is Hosseini's best work). I vaguely remember being in a World Literature class the fall semester of this year and reading The Tempest, and The Love Song of J. Alfred Prufrock (which I LOVED), but I don't remember much else from that class. I thiiink this is also the year I reread Harry Potter during the summer, but I don't remember. I know I reread the series in college, it's just all such a blur now 🤷🏼‍♀️

2015: The Fault In Our Stars the previous year put me on a serious John Green kick in the start of 2015. I read Papertowns on my flight home from my spring break trip to NY. Later that year I borrowed An Abundance of Katherines from a friend and which pretty much turned me off of John Green forever. I took my first American Lit class in college this year and realized I just don't like much American Lit. We read Fight Club, A Streetcar Named Desire, Summer by Edith Warton, Tender is the Night and the Adventures of Huckleberry Finn and I liked approximately zero of them. This year was the BEST year though because it was also the year I took a class just about the Brontë sisters. We read Jane Eyre (my third time at this point, I think. Always a favorite), Wuthering Heights (hated it) and The Tenant of Wildfell Hall (an absolute DELIGHT. Became one of my all-time favorites and my go-to recommendation for a couple of years). I ended the year reading a couple of quick, fun, cozy books during the holidays: Where'd You Go Bernadette and The Lion, The Witch and The Wardrobe (my first time and I absolutely loved it).

2016: This year had a BUNCH of lows, but there were a few standout stars. After a much needed schedule change at the beginning of the year, I ended up in another American Lit class which further my disdain for the subject. We read Typee by Hermamn Melville (snoozefest), My Ántonia by Willa Cather, half of some book by Keruac I think (so boring and uninspiring I don't even remember anything besides that I hated it and it had a red cover) and Go Tell it on the Mountain by James Baldwin. We did also read a collection of short stories by Flannery O'Connor and that was actually enjoyable, so there's hope for me and American authors yet. This was the year I also had my absolute FAVORITE professor for a Victorian Lit class. The theme was Scandal and Outrage or something like that so we read Alice and Wonderland, Dr. Jekyll and Mr. Hyde, and (most unfortunately) Tess of the D'ubervilles by Thomas Hardy. To be fair, at this time I actually probably only read like half of it due to all my other course work this semester, but it just was Not Good. The only high point from my lit classes this year was The Importance of Being Earnest by Oscar Wilde. An absolute treasure. That summer was a summer of duds. I read Harry Potter and The Cursed Child (truly cursed), Eleanor and Park by Rainbow Rowell (just didn't really connect with the characters), and the absolure WORST BOOK Me Before You by Jojo Moyes. I'm not sure a book had ever made me as upset, or rage induced as this book did, but to this day I am still so mad I wasted time with it. I spent a lot of the year sloughing through a book I borrowed from the family I babysit for called The Myserious Benedict Society. I didn't finish it until the next year, but it took me forever to get through. The only other highlight of this year was reading Ender's Game aloud to my husband. That book took me by surprise in a great way. I did not expect to love it as much as I did. We also read the sequel this year, Speaker For the Dead, which although very different from Ender's Game was still good in its own rite.

2017: This year is when things really start picking up for me again. Toward the end of college, I was feeling very burnt out and uninspried by reading (probably because all of the lows the previous year). I rounded out my degree in one last lit class (another American Lit class of ALL classes), but since it was early American Lit, I actually did enjoy it a bit more. We read Native creation myths, Lousia May Alcott short stories, some Whitman and other authors from that movement and then rounded out the semester with Uncle Tom's Cabin. That summer after graduation was when I decided to work my through every book on my bookshelf, which was a pivotal turning point for me because I began to be excited about reading again. That summer I reread Little Women for the first time in years and absolutely LOVED it. I spent the rest of the year with Jane Austen, reading Persausion, Sense and Sensibility and Pride and Prejudice. This was also the year I started reading Harry Potter to my husband (his first time reading the series!).

2018: My bookshelf goal still continues. This year I revisited the Brontë sisters, finally read Evelina in it's entirety (LOVED IT), revisted Sarah Dessen in the summer (for the first time since high school), and revisted some childhood classics (The Tale of Despereaux and The Tiger Rising by Kate DiCamillo, as well as the BFG by Rold Dahl). I reread the Guernsey Literary and Potato Peel Pie Society in preparation for the Netflix movie and finished two Harry Potter books with my husband. I ended the year with Little Men (so sweet 😭) and A Christmas Carol.

2019: I finally finished the first shelf (of three) of my bookcase. I spent almost half of my year in The Count of Monte Cristo and what a wondeful half year that was. Such a great story! I gave two haunts from required read past another chance: Scarlett Letter and Tess of the D'ubervilles. I was not a fan. I read three books by a local author from my childhood and The Outsiders. I finished the year returning to A Thousand Splendid Suns and was again taken away by how moving and beautiful it was. Also finished The Goblet of Fire with my husband during our annual trip to North Carolina.

Something I really enjoyed about this was not only seeing the ebbs and flows of my reading throughout the years, but seeing the common threads throughout the last decade. Road trips, certain books that kept coming up, friends and family I shared books with. This was a really fun thing to do for me so thank you Mable for tagging me! I don't have any one else to tag, but I highly encourage you to do it! It's so fun to see how books shaped the past 10 years. Tag me if you do. 💓

[caitsbooks]

6 Summer YA Romances!

Click here to view the full post on my blog, or read more to find out more about these books!

Summer is the perfect time to dive into a nice, lighthearted romance. What’s better than reading a cute contemporary on the beach?

So I’ve compiled a list of 6 YA romances that are perfect for the beach or pool!

Read more for descriptions of each book, plus check out my blog to see 6 Adult Romances that are perfect for summer!

Blog || Goodreads || Bookstagram || Twitter  || Reviews

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MY LIFE NEXT DOOR BY HUNTLEY FITZPATRICK

Page Count: 394 pages Publisher: Dial Books For Young Readers Release Date: June 14th, 2012 Purchase Options: Amazon, Indiebound, Barnes and Noble

“The Garretts are everything the Reeds are not. Loud, messy, affectionate. And every day from her rooftop perch, Samantha Reed wishes she was one of them . . . until one summer evening, Jase Garrett climbs up next to her and changes everything. As the two fall fiercely for each other, stumbling through the awkwardness and awesomeness of first love, Jase’s family embraces Samantha – even as she keeps him a secret from her own. Then something unthinkable happens, and the bottom drops out of Samantha’s world. She’s suddenly faced with an impossible decision. Which perfect family will save her? Or is it time she saved herself?”

This book was one of the first books that got me into contemporaries. I just loved it so much, and I’m hoping to reread it soon. With themes of family, first love, and friendship, how can you not want this as a part of your summer reading list?

THE SUMMER OF CHASING MERMAIDS BY SARAH OCKLER

Page Count: 416 pages Publisher: Simon Pulse Release Date: June 2nd, 2015 Purchase Options: Amazon, Indiebound, Barnes and Noble

“The youngest of six talented sisters, Elyse d’Abreau was destined for stardom – until a boating accident took everything from her. Now, the most beautiful singer in Tobago can’t sing. She can’t even speak. Seeking quiet solitude, Elyse accepts a friend’s invitation to Atargatis Cove[…]Christian Kane is a notorious playboy – insolent, arrogant, and completely charming. He’s also the only person in Atargatis Cove who doesn’t treat Elyse like a glass statue. He challenges her to express herself, and he admires the way she treats his younger brother, Sebastian, who believes Elyse is the legendary mermaid come to life.When Christian needs a first mate for the Cove’s high-stakes Pirate Regatta, Elyse reluctantly stows her fear of the sea and climbs aboard. The ocean isn’t the only thing making waves, though – swept up in Christian’s seductive tide and entranced by the Cove’s charms, Elyse begins to wonder if a life of solitude isn’t what she needs. But changing course again means facing her past. It means finding her inner voice. And scariest of all, it means opening her heart to a boy who’s best known for breaking them…”

This book is the epitome of a beach read. Cute romance, strong (and diverse!) characters, and that must-have beach aesthetic!

ALEX, APPROXIMATELY BY JENN BENNETT

Page Count: 388 pages Publisher: Simon Pulse Release Date: April 4th, 2017 Purchase Options: Amazon, Indiebound, Barnes and Noble [ Click Here For My Full Review ]

“Classic movie fan Bailey “Mink” Rydell has spent months crushing on a witty film geek she only knows online as Alex. Two coasts separate the teens until Bailey moves in with her dad, who lives in the same California surfing town as her online crush. Faced with doubts (what if he’s a creep in real life—or worse?), Bailey doesn’t tell Alex she’s moved to his hometown. Or that she’s landed a job at the local tourist-trap museum. Or that she’s being heckled daily by the irritatingly hot museum security guard, Porter Roth—a.k.a. her new archnemesis. But life is a whole lot messier than the movies, especially when Bailey discovers that tricky fine line between hate, love, and whatever it is she’s starting to feel for Porter. And as the summer months go by, Bailey must choose whether to cling to a dreamy online fantasy in Alex or take a risk on an imperfect reality with Porter. “

Jenn Bennett has become one of my all-time favorite YA contemporary writers. Her books are cute, fun, but realistic and not completely lighthearted. I honestly could have included any of her books here, but Alex, Approximately is definitely the most “summer romance”-y of the bunch. However, if you’ve already read it and haven’t picked up any of her other books, I highly recommend them!

SMALL TOWN HEARTS BY LILLIE VALE

Page Count: 336 pages Publisher: Swoon Reads Release Date: March 19th, 2019 Purchase Options: Amazon, Indiebound, Barnes and Noble [ Click Here For My Full Review ]

“Fresh out of high school, Babe Vogel should be thrilled to have the whole summer at her fingertips. She loves living in her lighthouse home in the sleepy Maine beach town of Oar’s Rest and being a barista at the Busy Bean, but she’s totally freaking out about how her life will change when her two best friends go to college in the fall. And when a reckless kiss causes all three of them to break up, she may lose them a lot sooner. On top of that, her ex-girlfriend is back in town, bringing with her a slew of memories, both good and bad. And then there’s Levi Keller, the cute artist who’s spending all his free time at the coffee shop where she works. Levi’s from out of town, and even though Babe knows better than to fall for a tourist who will leave when summer ends, she can’t stop herself from wanting to know him. Can Babe keep her distance, or will she break the one rule she’s always had – to never fall for a summer boy?“

I know I talk about this book a lot, but there’s a reason for it!! It’s an LGBTQ+ contemporary romance dealing with friendships and friendship-break-ups, all in a small beach town. It’s basically everything I ever wanted in a book, so of course, I won’t stop talking about it! You really need to read this one. Trust me.

[ Related: Interview with Lillie Vale, Author of Small Town Hearts ]

YOU’D BE MINE BY ERIN HAHN

Page Count: 304 pages Publisher: Wednesday Books Release Date: April 2nd, 2019 Purchase Options: Amazon, Indiebound, Barnes and Noble [ Click Here For My Full Review ]

“Annie Mathers is America’s sweetheart and heir to a country music legacy full of all the things her Gran warned her about. Superstar Clay Coolidge is most definitely going to end up one of those things. But unfortunately for Clay, if he can’t convince Annie to join his summer tour, his music label is going to drop him. That’s what happens when your bad boy image turns into bad boy reality. Annie has been avoiding the spotlight after her parents’ tragic death, except on her skyrocketing YouTube channel. Clay’s label wants to land Annie, and Clay has to make it happen. Swayed by Clay’s undeniable charm and good looks, Annie and her band agree to join the tour. From the start fans want them to be more than just tour mates, and Annie and Clay can’t help but wonder if the fans are right. But if there’s one part of fame Annie wants nothing to do with, it’s a high-profile relationship. She had a front row seat to her parents’ volatile marriage and isn’t interested in repeating history. If only she could convince her heart that Clay, with his painful past and head over heels inducing tenor, isn’t worth the risk.“

This book is so good. I will warn you- it’s definitely the least summery of the bunch, but that’s mostly because it’s not quite as lighthearted. There are some heavier topics discussed in this book, but trust me when I say it handles them so well. This is the perfect book to pick up if you’re looking for something a little darker to break up your lighter reads!

DON’T DATE ROSA SANTOS BY NINA MORENO

Page Count: 336 pages Publisher: Disney-Hyperion Release Date: May 14th, 2019 Purchase Options: Amazon, Indiebound, Barnes and Noble

“Rosa Santos is cursed by the sea-at least, that’s what they say. Dating her is bad news, especially if you’re a boy with a boat. But Rosa feels more caught than cursed. Caught between cultures and choices. Between her abuela, a beloved healer and pillar of their community, and her mother, an artist who crashes in and out of her life like a hurricane. Between Port Coral, the quirky South Florida town they call home, and Cuba, the island her abuela refuses to talk about. As her college decision looms, Rosa collides – literally – with Alex Aquino, the mysterious boy with tattoos of the ocean whose family owns the marina. With her heart, her family, and her future on the line, can Rosa break a curse and find her place beyond the horizon?”

Confession Time! I haven’t actually read this book yet. I know, I’m ashamed, but it is on my summer TBR!!! Because everyone has said wonderful things about this book, and it seems like such a perfect beach read, I had to include it on this list. I mean, look at that cover? Does that not scream summer??

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Have you read any of these books? What’s your favorite YA summer romance novel?

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[rebekahanncurtis]

New Post has been published on Rebekah Ann Curtis

New Post has been published on http://rebekahanncurtis.com/im-hosting-a-new-podcast/

I'm Hosting a New Podcast!

Some of you know that I’ve hosted an all women’s music program on NWCZradio.com for the past four years, a total of 200 episodes of the Ebb&Flow, which highlighted women in music and women making music. I felt that for me, the interest had waned, and it was time to move on to other projects.

Then God steps in and says, hey, focus on Christian music.

I was like oh, ok, I guess this is what I’ll be doing in terms of the music side.

As I entered into this project, it became apparent to me that there is a wonderful treasure trove of music in various genres and from different cultures, all of it proclaiming the beauty and glory of Christ! It’s wonderfully varied! It’s a mess of awesome and I’m blessed and encouraged to know that there is a depth of love for Jesus and a pursuit of excellence while praising His name!

I’m so excited to be a part of this and to share it with you!

Every Sunday night at 5pm (PST), on NWCZradio.com you can hear the music of our brothers and sisters making music for the glory of God!

I hope you join me in this wonderful celebration!

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Olivia Newton John Net Worth 2022: Olivia Newton-John Cause of Death?

Olivia Newton-John is a well-known pop singer who was born in United Kingdom on September 26, 1948. The actress and singer became famous for her role in Grease and for her album Physical, which went double platinum. She has sold more than 100 million records and has had more than 10 songs in the top 10 of the Billboard Hot 100. Astrologers say that Olivia Newton-star John's sign, or zodiac sign, is Libra. With her first husband, Matt Lattanzi, she had a daughter named Chloe Rose. In 2008, she got married to John Easterling. Birth Date 26-9-1948 Heritage/origin Australian Ethnicity White Religion - believes in God? Christian Residence She owns a house in Tequesta, Florida. Olivia Newton-John Cause of Death? Olivia Newton-John died after a more than 30-year battle with breast cancer. The statement said, "Olivia has been a symbol of victories and hope for more than 30 years by sharing her journey with breast cancer." "Her healing inspiration and pioneering experience with plant medicine continue with the Olivia Newton-John Foundation Fund, which is dedicated to researching plant medicine and cancer," said a statement on her Facebook page. In October 2021, the actress talked about how she was dealing with the pain of Stage 4 breast cancer by using medical marijuana. In September 2018, she was told she had cancer for the third time. The Australian celebrity was diagnosed for the first time in 1992, and again in May 2017. She Was in a Lot of Pain The source kept going "She hurt a lot, but she was strong and kept going. The place was her heaven on earth, and she spent a lot of her last days there." Olivia Newton-John beat cancer three times before it came back for good. After the first time she beat cancer, she started the Olivia Newton-John Cancer & Wellness Centre at Melbourne's Austin Hospital. Olivia Newton-john Loved to Help The New York Post heard from a person close to Olivia Newton-John that "Olivia was always willing to help. She gave back to others for the last 20 years of her life. She wanted to leave something that would last and that her daughter would also be able to use." Olivia Newton-John had a horse ranch in California where she spent her last days, but she gave it all to her husband, John Easterling. Olivia Newton-john Made a Career on the Music and Film Industry Newton-John was born in England in 1948. When she was 14, she moved to Australia. She began singing in the late 1960s, and her first solo album, "If Not for You," came out in 1971. The title song was written by Bob Dylan and recorded by George Harrison. She didn't become a big star until she was paired with John Travolta in the 1978 smash hit movie musical "Grease," which reached No. 1 on the US Adult Contemporary chart and No. 25 on the pop charts. For the movie version of the Broadway hit, Sandy was changed from an American named Sandy Dumbrowski to an Australian named Sandy Olsson. This was done in part to make room for Olivia's accent. "Summer Nights," the biggest hit of 1978, and "You're the One That I Want," a duet between Olivia and her co-star John Travolta, both reached No. 1 on the pop charts. Olivia's big solo ballad, "Hopelessly Devoted to You," went all the way to No. 3. What Is Olivia Newton-John Net Worth? The amount of money Newton-John left behind is thought to be $60 million. Before he was in Grease with John Travolta in 1978, the songwriter became well-known quickly in the music business. Before she recorded her first single for Decca Records, "Till You Say You'll Be Mine," in 1966, she played in a band called Soul Four. Estimated Net Worth 60 million Dollar Yearly Salary N/A Product Endorsements Total Gym, Zamu Gold & Kellogg's Smart Start cereal Colleagues Cliff Richard, John Travolta & Electric Light Orchestra Management Fitzgerald-Hartley Co If Not For You, the first studio album by the British-Australian actress, came out in 1971. The title song was a hit not just in the UK, but also in Australia, the US, and Canada. Several successful albums followed, with hits like "I Really Love You," "Have You Never Been Mellow," and "Please, Mr. Please." Olivia Newton-John set up the Olivia Newton-John Foundation Fund, which is a separate charity that funds research around the world into using plants to treat cancer. By putting money into new scientific research, patients and their caretakers will learn about ways to treat cancer that are less harmful. Hair color Light blond Hairstyle dressy Eye Color Grey Height 168 cm Weight 58 kilo Bra-size 36A Feet size 9 Dress size 6 Waist size 24 Buste size 31 Butt size 33 Does Olivia Newton-John smoke? No, never Does Olivia Newton-John have a tattoo? No Fitness, workout and diet Olivia practice a healthy lifestyle where she would exercise and meditate regularly. In terms of diet, she eats mostly plant-based food. Olivia Newton-John: Husband In 2008, Olivia got married to John Easterling, who started Amazon Herb Company. Olivia and John are both getting married for the second time. The couple got married in Cuzco, Peru, at an Incan spiritual ceremony with no guests. Relationship status Married (Since 2007) Sexuality Straight Current Husband of Olivia Newton-John John Easterling Ex-boyfriends or ex-husbands Matt Lattanzi, Patrick McDermott More info Was previously married and divorced Expecting a baby? She is not pregnant Has any kids? Yes, mother of: Chloe Rose What is Inside Olivia Newton-John’s $85 Million Empire? Dame Olivia Newton-John, a well-known actress and entertainment legend, has died. She was one of the best-selling artists of her time, and she will be missed. The British-born singer moved to Australia with her family when she was six years old. After starting out on Australian TV shows like The Go! Show and talent show Sing, Sing, Sing, Newton-John moved back to the UK and started singing in clubs there. When her first solo album, If Not For You, came out in 1971, it was a big break for her. Since then, Newton-John has won four Grammys, ten American Music Awards, two Golden Globes, and was nominated for an Oscar in 1978 for the song "Hopelessly Devoted to You," which was in the movie "Grease." She probably had a net worth of around $US60 million ($A85.9 million) when she died. She got this money from her business ventures and her successful singing and acting career, which she used to fund her activism later in life. The Most Famous Parts Olivia Newton-john Has Played During her career, Newton-John was in 15 movies and put out 26 studio albums, as well as 70 singles and six soundtracks. Newton-John may have been best known around the world for her iconic role as Sandy in the movie Grease. At the time, she was 29, which was seven years older than her co-star John Travolta. Even though no one knows how much she was paid to be in the movie, she sued Universal Music Group Inc in 2006 for unpaid royalties. In the breach of contract lawsuit, ON-J Productions, Ltd, Newton-company, John's was said to be owed more than $US1 million ($A1.5 million) in royalties and other payments. Universal tried to get rid of the claims, but it was later said that they had reached a conditional settlement with Newton-John that was not made public. In 2019, the entertainer sold her Grease items at auction to raise money for the Olivia Newton-John Cancer and Wellness Centre. On the list of things to be sold at the auction were her famous "Pink Ladies" jacket, black leather pants and a leather jacket, as well as signed photos and other items. The whole auction brought in more than $A3.4 million, and the famous leather jacket alone sold for $A348,500. She also sang "Long Live Love" at the Eurovision Song Contest in 1974, where she sang for the UK. She came in fourth, and ABBA, who won with "Waterloo," beat her. Olivia Newton-john Has Also Done Other Things Newton-John was well-known for more than just acting and performing. She also worked hard for animal rights, the environment, and breast cancer awareness. In 1992, the mother of one was told she had the disease. In 2017, she said that her stage 4 breast cancer had come back. It was also found out that this was her third time getting breast cancer, but that it had spread to her lower back. She has worked for a number of organisations that help people with breast cancer, and in 2012 she opened the Olivia Newton-John Cancer and Wellness Centre in Melbourne, Australia. Newton-John spoke out to raise awareness about breast cancer. Photo: Ethan Miller/Getty Newton. Newton-John was also one of the people who started Gaia Retreat & Spa, one of the most well-known health resorts in Byron Bay. The 22-room boutique hotel opened in 2005. It is on 8 hectares of land and has a day spa, a saltwater pool, and walking paths. Newton-John and the other three co-founders of Gaia, who started the company in 2005, sold it to a private investment group called Tattarang. This group is owned by Andrew and Nicola Forrest, who are wealthy from the mining company Fortescue. Colliers took care of the sale, which was for $30 million. Last Lines Olivia Newton-John died after a more than 30-year battle with breast cancer. Astrologers say that Olivia Newton-john's sign, or zodiac sign, is Libra. The Australian celebrity was diagnosed for the first time in 1992, and again in May 2017. Olivia Newton-John's net worth is thought to be $60 million. She started singing in the late 1960s and early 1970s. Her first solo album, "If Not For You," came out in 1971. Singer/actress co-starred with John Travolta in "Grease". In 2008, Olivia Newton-John married John Easterling, who started Amazon Herb Company. The couple got married in Cuzco, Peru, at an Incan spiritual ceremony with no guests. She had a net worth of around $US60 million ($A85.9 million) when she died. Olivia Newton-John sold her Grease items at auction to raise money for charity. Auction brought in more than $A3.4 million, and the famous leather jacket alone sold for $A348,500. She also sang "Long Live Love" at the Eurovision Song Contest in 1974. Read the full article

[flynncenter]

This Week in the Arts World

As we all hit pause and hunker down, we at the Flynn still want to brighten your day and enrich your life with art and entertainment. Each week, we’ll update this post to highlight up-to-date happenings from all over, as well as from the Flynn, that you can access from home. We hope you enjoy this curated resource.

Want the latest arts happenings sent directly to you? Subscribe here to receive THE FRIDAY FIVE, a weekly email from the Flynn that runs down the top five virtual events and performances for the week to come.

Arts Across America: Christal Brown

Choreographer Christal Brown presents segments of her in-progress work What We Ask of Flesh, co-presented by The Flynn and the New England Foundation for the Arts, and presented on Monday, August 3 as part of the Kennedy Center’s Arts Across America series. This epic work has seen many variations over the years, exploring the distance between our aspirations and reality. The work was going to premiere at The Flynn in 2020/21 season, though Covid-19 has wreaked havoc with that. For the Arts Across America performance, Brown and her company will perform excerpts from the work, including a solo by Brown. She and Flynn Artistic Director Steve MacQueen will also discuss the piece and offer context throughout the hour. It happens on Monday, August 3 at 4 pm on the Kennedy Center’s Arts Across America Facebook page. 

Online Classes

Pay-what-you-can online dance classes at the suggested cost of $10 per class (and as little as $0). Beat the quarantine blues while supporting the Flynn and our incredible teaching artists.

Youth classes

Online Show Choir (ages 8-19)

Online Choose Your Adventure (ages 8-12)

Pre-recorded Hip-Hop for Kids (ages 7-12)

Pre-recorded Mini Dancers (ages 4-7)

Movement in the Park with Rose Bedard

Teen/Adult classes

Online Tap

Online Burlesque (ages 18+)

Online Songwriters Bootcamp with Myra Flynn

Online Moth Storytelling class - coming soon!

Online Movement for Parkinson’s

Movement in the Park with Rose Bedard

Burlington ReDiscover Jazz Festival

From June 4-14, in partnership with Vermont PBS, Vermont Public Radio, and Burlington area restaurants, we streamed a wealth of jazz videos for the Discover Jazz Festival archives. All the videos from the virtual festival are available on the Flynn’s YouTube channel.

TURNon

Tuesdays and Fridays

TURNmusic, Vermont’s leading champions of contemporary chamber music, are holding livestream concerts every Tuesday and Friday at 7 pm, supporting local musicians and celebrating living composers and songwriters.

Replays

Llammadoll: Silent Shorts 

Llamadoll is a Vermont-based project that melds silent film and original music in ways that are utterly magnificent and revelatory, charming and hilarious, entertaining and thought-provoking.

Le Patin Libre, Vertical

Five-strong troupe Le Patin Libre use the ice in daring and dazzling ways to present a completely new perspective in the full length 20-minute film, Vertical. The Flynn presented the group’s performance of Vertical Influences at Burlington’s Leddy Park in January 2017.

Ambassador Brother Mister

In 2015, Christian McBride, five-time Grammy winner and the preeminent jazz bass player of his generation, was the artist-in-residence for the Burlington Discover Jazz Festival. He was out in the public, giving lectures, workshops and master classes, as well as performing with his trio and being a jazz ambassador to the town. This film, produced by Vermont Community Access Media in partnership with the Burlington Discover Jazz Festival, chronicles his time in the Queen City and showcases his expertise, not only as a jazz musician and historian, but as an educator.

Brian McCarthy’s After l Life

Jazz saxophonist Brian McCarthy’s nonet, recorded live in Flynn Space on November 8, 2019, draws inspiration from the history of jazz while maintaining a modern awareness. McCarthy’s compositions consider the arising of a giant stellar dust cloud, the Primordial Nebula. Out of stars, planets, order, and chaos emerges all that connects and shapes the world we live in.

Flynn Chats

Jacob’s Pillow Virtual Festival

July 7-August 29

The longest-running dance festival in the United States now comes directly to you . . . for free! During Jacob's Pillow's first-ever virtual festival, held over eight weeks, you can pick and choose what you most want to see. RSVP to as many events as you want, then watch and participate on YouTube and Zoom with artists and audience members from around the world.

Vermont Symphony Orchestra

July 16-August 22

This summer, VSO is visiting all 14 Vermont counties, bringing a variety of repertoire to parks, patios, and other outdoor venues. The Close to Home and Far Afield series features small ensembles and ample room to stop by and enjoy music from a safe distance. All concerts are free of charge. Here are the shows announced so far: Manchester (July 16), Burlington (July 17), Greensboro (August 9), Woodstock (August 14), St. Johnsbury (August 15), St. Albans (August 22). Check vso.org/events to stay in the loop as more concerts are announced.

Yo-Yo Ma

July 24-25

Cellist Yo-Yo Ma makes his Global Concert Hall debut with an homage to Ennio Morricone, the legendary Italian composer and conductor who died earlier this month. Ma’s recital will explore these themes in an energetic program that brings performer and audience on a journey across space and time, from Morricone’s iconic film scores to traditional tunes from Mongolia and America to Schubert and Bach.

While We Breathe

July 29

#WhileWeBreathe: A Night of Creative Protest is a one-night-only event featuring short works written and directed by theater alums, to benefit the NAACP Legal Defense and Educational Fund, The Bail Project, Black Organizing for Leadership and Dignity (BOLD), BYP100 Education Fund, Forced Trajectory Project (FTP), The Justice Committee, and SONG.  The premiere will be followed by a live discussion at 10 pm ET, hosted by CBS host Michelle Miller.

Wayne Shorter Celebration

July 31

Masterminded by Herbie Hancock as a tribute and benefit for Wayne’s medical expenses, an all-star roster of jazz greats assembled over four nights to perform classic material written by Shorter. The SFJAZZ website is rebroadcasting this 2019 benefit concert, featuring Hancock, Terence Blanchard, Terrace Martin, Danilo Pérez, John Patitucci, and Brian Blade, with proceeds going to Shorter’s ongoing medical needs. The July stream is part three; part four will stream on August 28. 

Newport Folk Revival Weekend

July 31-August 2

The 2020 Newport Folk Festival was canceled in April so in its place Newport Folk has announced a a virtual event featuring performances by Phoebe Bridgers, Mavis Staples, Leon Bridges, Sharon Van Etten, Deer Tick, Jim James, Jason Isbell, Roger Waters, and more. The Folk on Revival Weekend will will include pre-recorded music performances, Newport Folk Revival Radio, audio archives, and the screening of an original film.

Sara Juli’s Burnt-Out Wife

August 11, 7 pm

Sara Juli’s dance-theater-comedy show Burnt-Out Wife will have its virtual premiere on August 11 (available to view through August 17). Burnt-Out Wife explores the decay and detritus of a once-promising marriage. Separation, sex deprivation, and lack of communication add up to wanting to run from the popular, yet impossible binding contract. Using her comedic text-driven dance style, Sara Juli blows up marriage.

The Metropolitan Opera

Every day, 7:30 pm

Each day, a different encore presentation from the company’s Live in HD series is being made available for free streaming on the Met website, with each performance available for a period of 23 hours, from 7:30 pm until 6:30 pm the following day.

The Muny

Mondays and Thursdays, 9:15 pm

Starting in July, The Muny began offering a free online variety show—The Muny 2020 Summer Variety Hour Live! The show features cast reunion sing-alongs, famous musical theater duets performed by real-life Muny couples, Munywood Squares, archived clips from past Muny summer productions, song and dances created by Muny artists across the U.S., behind-the-scenes stories, and so much more!

The Tank

Tuesdays, 4 pm

CyberTank is an e-home for e-merging artists. The CyberTank Variety Show is The Tank’s FREE virtual gathering place, hosting dozens of artists every week on Tuesday at 4 pm EST. View past episodes and catch the next episode on August 4 hosted by Stevie to launch off PrideFest.

Renée Fleming: Music and Mind Live

Tuesdays, 5 pm

Starting May 19, Renée Fleming will hold weekly webinars that explore the powerful impact of music and arts on human health and the brain.

The Next Festival of Emerging Artists

Tuesdays & Thursdays

This year's Festival goes online with free events on Tuesday and Thursday afternoons through July 2. The four-week series of workshop, mini-courses, and collaborative projects will feature over 20 guest artists and speakers, accessible online and open to the public through Eventbrite registration. This year's festival will culminate in performances of new works created by remote collaboration.

Live with Carnegie Hall

Tuesdays & Thursdays, 2 pm

Live with Carnegie Hall is a new online series designed to connect world-class artists with musical lovers everywhere, featuring live musical performances, storytelling, and conversations that offer deeper insights into great music and behind-the-scenes personal perspectives.

Houston Ballet

Tuesdays, 8 pm

Houston Ballet presents The Dancer Perspective, hosted by Principal Ian Casady, Tuesdays at 8 pm starting May 19. This mini-series is dedicated to giving insight into the Houston Ballet world of dance, directly from company dancers.

Wynton Marsalis and Jazz at Lincoln Center

Wednesdays

Every Wednesday, Jazz at Lincoln Center will release a new full length concert on its YouTube channel.

Ballet Hispanico

Wednesdays

Ballet Hispanico Watch Parties happen live at 7 pm every Wednesday, beginning with a performance video premiere and followed by Choreographers & Cocktails, a live discussion with company artists. You can watch the video premiere of the full-length repertory on their website, Facebook page, or YouTube channel.

Vermont Comedy Club

Fridays

Every Friday night, Natalie & Nathan chat with celebrity comedians, local heroes, strange characters, talented musicians and other fun people in their series Talk to Us (please)!. The club also has a number of other streaming options across their channels including family-friendly and archival videos.  

Alvin Ailey American Dance Theater

Fridays

AAADT is thrilled to share full-length videos of the company performing on stage, streaming free online, directly to your living room! This week, they are streaming their take on Camille A. Brown's City of Rain. Plus: though the Ailey dancers are still finding ways to connect and dance together, so enjoy their videos in #TheShowMustGoOn series, the "Dancer Diaries" series, and the "Conversations With..." series.

Lincoln Center’s Broadway Fridays

Fridays, 8 pm

Lincoln Center for the Performing Arts has announced Broadway Fridays, free online streams of some of the most beloved Live From Lincoln Center broadcasts of Broadway productions from Lincoln Center Theater and the New York Philharmonic.

Lincoln Center Youth Programs

Weekdays and Sundays

In addition to their weekly Broadway streams, Lincoln Center is holding regular youth-oriented concert streams and educational programming. Don't miss their Pop-Up Classroom weekdays at 2 pm and Pop-Up Concerts for Kids on Sundays at 11 am.

Caramoor

Thursdays, 7 pm

Caramoor, a summertime classical-music destination housed on a verdant estate near Katonah, New York, inaugurates a boldly reconceived festival, featuring both online concerts and outdoor events that allow for social distancing.

Sandglass Theater

Thursdays, 7 pm

Each Thursday, Sandglass Theater will release an archival video of a production that is no longer being performed in their repertoire. These livestream events are available on their website and Facebook page.  These performances represent a wide spectrum of Sandglass’ work over their almost 40 year history. A Q&A will accompany each livestream and will include special guests such as Sandglass founders, ensemble members, and collaborators.

Joshua William Gelb’s Theater in Quarantine

Every other Thursday

Joshua William Gelb is a theater director, performer, and librettist based out of New York's Lower East Side. He is currently in residence in his 4x8x2 closet, which he has converted into a white box for the duration of this quarantine. His Theater in Quarantine (TiQ) series features new works posted every other Thursday. Any money raised will go to the NAACP Legal Defense and Educational Fund.

National Theatre at Home

Thursdays, 2 pm

Showing this week: Les Blancs, the final play by Lorraine Hansberry, directed by Yaël Farber: a brave, illuminating and powerful work that confronts the hope and tragedy of revolution. Next up: Terence Rattigan’s devastating masterpiece, The Deep Blue Sea, contains one of the greatest female roles in contemporary drama, played by Helen McCrory.

Stratford Shakespeare Film Festival

Thursdays, 7 pm

Launching on Shakespeare’s birthday, April 23, Stratford Festival will premiere one Shakespeare production each week, for a period of 12 weeks. Each film will debut with a 7 pm on Thursday and remain available for free for a three-week period.

Joe's Pub Live!

Thursdays, Fridays, Saturdays, 8 pm

While Joe's Pub is temporarily closed, they are hosting a free series of live-streamed and archived performances from their iconic stage in New York City.

Andrew Lloyd Webber

Fridays, 2 pm

Andrew Lloyd Webber is streaming of one of his Broadway musicals every Friday at 2 pm (available for 48 hours).

SFJAZZ

Fridays, 8 pm

SFJAZZ has launched a weekly series called Fridays at Five, featuring archival concerts from amazing musicians live from the SFJAZZ Center. Coming up: John Scofield & Lettuce (July 10), Afro-Cuban All Stars (July 17), Cécile McLorin Salvant (July 24), John Santos (August 7), Bokanté (August 14).

Bread + Puppet

Fridays, Saturdays, Sundays, 4 pm

See Bread and Puppet's latest work, The Insurrection and Resurrection, live and in person at their farm in Glover, VT. Bread and Puppet is restricting the size of their audience in compliance with state guidelines for outdoor gatherings and has put in place a number of other practices for safety of audiences and the community. You must purchase a ticket for each person in advance (no same-day, drop-ins) so that they may track and limit audience size. Tickets are $10. Shows are Fridays through Sundays at 4 pm through August 30.

West Australian Opera

Saturdays

Each Saturday through the end of May, Ghost Light Opera will celebrate Western Australian singers performing gorgeous arias spot lit on a darkened stage.

Afro Latin Jazz Alliance

Sundays

Each sunday, ALJA hosts a Digital Village event with Arturo O’Farrill and the Afro Latin Jazz Orquestra, playing Virtual Birdland live on Facebook at 8:30 pm. Their site also features a bunch of new performances and talks with a variety of jazz musicians.

Bria Skonberg

Sundays and Wednesdays

Hang out with 2019 Burlington Discover Jazz artist, Canadian singer, trumpeter, songwriter, arranger, and bandleader Bria Skonberg as she hosts Facebook Live chats every Sunday and Wednesday. It's lighthearted fun—songs, stories, even singalongs!

Second City

Tuesdays, Thursdays, Saturdays

Three days a week, at 8 pm EST, Chicago's funniest comedy talent joins forces with Second City alumni from across the country to bring you an interactive Improv House Party. Plus, every Thursday at 2 pm EST,  The Really Awesome Improv Show offers family friendly, high-energy fun for all ages, and relies on audience suggestions and participation.

Ryuichi Sakamoto

Every three days

Ryuichi Sakamoto has launched a new series called Incomplete via his YouTube account. Incomplete pairs new compositions with video art by Zakkubalan, with a new video released every three days, starting May 18. Sakamoto also shared a new concert film, Playing the Piano for the Isolated, which features Hidejiro Honjoh on shamisen, recorded in Tokyo in April.

Scottish Symphony Orchestra

In addition to frequently releasing archival concerts on their website, BBC SSO recently held a virtual Tectonics Festival, featuring performances of new and experimental music from their archives, all available to replay.

The Dark Theatre

The Dark Theatre mixes classroom drama techniques with an interactive comic book, framing you and your students as detectives trying to answer the question: who killed playwright Nathan Page? You just need a smartphone or tablet for personal reading, or PC, Mac, or Chromebook for a big screen read! Issue 1 and issue 2 are available now; issues 3 and 4 are coming soon.

Sydney Opera House

The Sydney Opera House is holding a Digital Season series with new videos available daily. This weekly program features unmissable full-length performances, live recordings, and never-before-seen footage from the Opera House archives.

Bolero Julliard

Bolero Juilliard is a complex online puzzle with many components being conceived, rehearsed, and produced simultaneously. Directed and choreographed by Larry Keigwin with associate Nicole Wolcott, featuring a reimagining of Ravel’s score, conducted by David Robertson, and produced by Kurt Crowley. The short film features Juilliard dancers, musicians, and actors, with alumni Christine Baranski, Jon Batiste, Renée Fleming, Isabel Leonard, Laura Linney, Yo-Yo Ma, Andrea Miller, faculty member Itzhak Perlman, Bradley Whitford, and many more.

Vermont Shakespeare Festival

VSF is responding to this crisis of isolation with what it does best: spreading joy and connection through performance! Shakespeare To You is an opportunity for you to send a 2-3 minute performance to family, neighbors, or friends via front yard delivery, Zoom, or telephone. It's kind of like a live telegram! Shakespeare To You is free, and is a fantastic way to send a unique birthday wish, celebrate a graduation or anniversary, or simply offer a connection to someone who needs a pick-me-up

Spruce Peak Arts

Our friends at Spruce Peak Arts in Stowe streamed local artists for eight weeks as part of their Wednesday Night Music Series. Now you can catch them on demand on YouTube: Daniel Rodriguez, Myra Flynn, John Fusco, Patti Casey, Dave Keller, Dwight & Nicole, Michael Mwenso and Members of the Shakes, and Christine Malcolm and Rudy Dauth.

The Criterion Channel

The Criterion Channel has removed the paywall on classic Black cinema in support of Black Lives Matter. These films include Body and Soul by Oscar Micheaux, Black Panthers by Agnes Varda, Portrait of Jason by Shirley Clarke, Daughters of the Dust by Julie Dash, and Down in the Delta by Maya Angelou.

The Talk

Sonny Kelly performs his solo show about the lessons that black fathers are required to teach their sons about racial division in America, drawing on both his own family history and his research as a doctoral student at UNC Chapel Hill. This production, directed by Joseph Megel, was recorded during the show’s original run in Durham in 2019, and is being shared for free through July 10.

The Joyce

The Joyce Theater in Chelsea is curating a recurring archival series, Joycestreams, featuring full performances and artist talkbacks, a discussion series with choreographers and collaborators moderated by Joyce staff. Right now, they are streaming Declassified Memory Fragment, a dance theater work inspired by some of the political and cultural realities affecting the continent of Africa. It is available through July 31. Coming soon: Meditations: A Silent Prayer on July 16.

The Walker

The Living Collections Catalogue—Creative Black Music at the Walker: Selections from the Archives focuses on a select group of influential black artists who came to the fore in the ’60s and ’70s, and appeared at the Walker multiple times, each having an indelible impact on US musical culture. Archival material not before available for public view is at the center of this publication, including rare audio and video recordings, photographs, posters and programs, and correspondence. The volume also features commissioned essays and interviews.

amplify 2020

An extensive library of COVID-era sound art has accumulated at amplify 2020: Quarantine, an online festival headed by Jon Abbey, of Erstwhile Records. Culled from experimental composers around the world, these projects conjure sonic otherness from the constricted, mundane circumstances of lockdown.

Interior Listening Protocol 01

Interior Listening Protocol 01 attempts to recuperate liveness and spatially dynamic, embodied listening back into our mediated moment. It functions as a participatory listening score that’s has to be done to be heard. You’ll miss the phenomenon entirely if you sit back and watch the video like Netflix. Think of it like a quartet for your skull, with you as conductor, shaping the temporal unfolding of the whole experience.

VTIFF

Every week, VTIFF streams exclusive new movies as part of their Virtual Cinema series, plus they feature live Q&As with filmmakers, discussions on specific topics, and showcases of local short films.

Hyperallergic

Online publication Hyperallergic compiled a watchlist of essential Black documentaries, including links where these works are available to stream or purchase. Collectively, they illustrate both the undeniable threat of white supremacist capitalist patriarchy and the incomparable strength of Blackness.

T.W. Wood Gallery

The T.W. Wood Gallery in Montpelier is currently closed to the public due to the pandemic, but its 2020 Members Show must go on. This year, the annual exhibition is online only and on view through September 15. Browse prints by Heidemarie Holmes-Heiss, paintings by Joann DiNicola, collage by Michael Levine, and works by 11 other Vermont creatives.

Manual Cinema

Manual Cinema’s 10th Anniversary Retrospectacular! is a month-long virtual birthday party featuring four of the company’s most seminal shows from the past 10 years on multi-camera, high-definition video, streaming for FREE through August 23. The streams come with a suggested donation to Manual Cinema to compensate for lost touring income due to Covid-19. In addition, each week, Manual Cinema will host live, online, virtual talkbacks reuniting each production’s creators, collaborators and fans.

[zappahead]

Logs

Monday, July 3, 2017.

Shortwave bandscan.

7290 at 1642. N3BTW and other AMers, very good signal.

7490 at 2053. WBCQ, "Financial survival" program. Trump apologetics, conspiracy theories, cranky financial talk and obligtory goldbuggery commercial. Very good signal.

7850 at 1629. CHU Canada time pips, fair signal.

9370 at 1629. WWRB? Brother Scare.

9395 at 1629. WRMI. Oldies music.

9475 at 1630. WTWW. After several days of open carrier, The Nazis are preaching again here with crappy sounding audio. At 2035, Pastor Peat Peters still droning on and on, this time from an old tape with muffled and distorted audio. Fine signal gone to waste.

9500 at 1850. Spanish talk, fair.

9535 at 2053. Wall of noise from 9530 to 9535.

9775 at 1852. Radio Romaina International. ID, talk in German.

9785 at 1853. Voice of Turkey. Talk in English, music.

9840 at 1630. WHRI. Brother Scare.

9915 at 2056. BBC World Service. Political talk, ID at 2056.

9955 at 1630. WRMI. Brother Scare.

9980 at 1630. WWCR. Brother Scare. At 1837 B.S. sounds like he's broadcasting from inside of a beer can, good signal.

9980 at 2100. WWCR. Financial Survival show, //7490, signing off, WWCR ID, and into open carrier until 2107 when a webcast picked up with several skips in a commercial, finally settling down a minute later with an unid. right wing talk show.

11580 at 1630. WRMI. Brother Scare.

11635 at 2108. Cuban spy transmission. Big open carrier at 2126. very good signal.

11760 at 1630. Radio Habana Cuba. Spanish talk.

11775 at 1630. University Network. Rev. Barbie with severely distorted audio, unintelligible. This transmitter has been on the whack like this for several weeks now.

11780 at 1855. Spanish talk.

11820/11825 at 2109. My favorite program today! Arabic Koran moaning on 11820 mixing with Brother Scare on WRMI 11825. This happens every day. Sometimes the mixing of the two stations makes for hilariously entertaining listening.

12065 at 1856. Unid slavic language talk.

11825 at 1630. WRMI, Brother Scare.

11930 at 1630. Wall of noise.

12160 at 1628. WWCR. Alix Jonez with ridiculous conspiracy theories and commercials for survival supplies.

12650 at 1630. Spanish talk.

13605 at 1630. Wall of noise. Cuban jamming against Radio Marti which was not heard.

13845 at 1630. University Network. Rev. Barbie //11775, very good signal and clean audio.

15105 at 1630. talk, unid language.

15140 at 1630. talk, unid language.

15205 at 1630. preaching, unid language.

15435 at 1630. weird radio drama with classical asian music, unid language, very good signal.

15555 usb at 1640. WJHR. Preaching, very good.

15610 at 1640. WEWN. Catholic apologetics with very strong signal and characteristic squeal, splattering 15600 to 15630. Is occasionally parallel our local daytimer WMET 1160 Gaithersburg, MD, but not at this time.

15770 at 1645. WRMI. Brother Scare.

15825 at 1645. WWCR. Preaching.

11635 at 1839. Cuban spy transmission, very good signal.

11930 at 1839. Wall of noise with spanish talk, presumed Radio Marti, underneath.

13740 at 1841. French talk.

15034 usb at 1842. Trenton Avaiation weather, good signal.

15445 at 1843. Very old (30s/40s sound) Spanish ballad called "Mexico," fair signal.

15510 at 1844. Asian music, good.

15520 at 1844. Radio Exterior de Espana. Spanish talk, good.

15540 at 1844. Radio Kuwait. Pop music, "I wanna be like.. I wanna be like.. most girls," very good signal.

15705 at 1847. Christian apologetics.

17815 at 1640. WHRI. Religious music, fair signal, "This is World Harvest Radio" at 1641.

17815 at 1848. WHRI, Brother Scare, fair signal.

17855 at 1848. Radio Exterior de Espana. Spanish talk, very good signal.

21525 at 1849. WRMI, Preaching.

Medium wave

Stations logged: 54

Formats heard: right wing talk 11, religious 10, classic hits 7, sports 7, Spanish 6, news/talk 5, country 1, Bollywood 1, variety/talk 1, asian talk 1, gospel 1, freeform rock music 1, TIS 1, Chinese government propaganda 1, nostalgia 1.

Of note:

780 at 1600. WAVA Arlington, VA. There's Jay Sekulow again, owner of "The American Center for Law and Justice" and Trump personal lawyer, with companion sock puppets "Counsel" Harry and "Professor" Andy, doing mnore Trump apologetics. He says that the Blaine amendment would prevent local fire and police services from serving churches, so it must be destroyed. Later, he does some shilling for donations to the non-profit ACLJ that he and his family control. Sekulow also did the Trump lawyer thing on Hannity's show today, which was a rerun from a couple of weeks ago centered on discussing possible collusion between Trump and the Russians by "just asking questions" about other funny business they claim was done by "the left."

890 at 1953. WFKJ Cashtown, PA. "Adventures In Odyssey," a program produced by Focus In the Family for indoctrinating children into Christianity.

950 at 1600. WCTN Potomac/Cabin John MD. Nonstop 80s classic hits with no commercials. This station reportedly has a finicky transmitter and has been off for long periods this year. Finally back a couple of weeks ago and on today with a fair signal.

1220 at 1558. WFAX Falls Church, VA. Preacher bemoaning transgender activism in sports, and immediately loses all credibility by using "World Net Daily" as a source. At 1600, ID and announces that "Jay Sekulow Live" will be starting today from 4-5 pm (1800-1900 UTC). Sure enough, I checked at 1800 and there Jay was, with the same show heard earlier on 780.

1420 at 1615. WKCW Warrenton, VA. This daytimer is all classic hits, all the time, with no commercials, but the station has one religious client daily at this time. The client, a preacher with Carribean accent, was being interviewed about "de debbil" and "miracles."

1580 at 1615. WJFK Morningside, MD. Until recenly was a sports talk station, is now running a unique talk radio format called "Connecting Vets" for military veterans. They reportedly have a studio in the vicinity of the Washington Navy Yard. Owned by CBS Radio, the call sign is shared with another local CBS station, WJFK-FM, sports talk "106.7 the Fan." Presumably 1580 also plays some ball games occasionally.

FM

Stations logged: 69

Formats heard: Adult contemporary/pop 40: 13, country 9, classic rock 7, urban 6, NPR/talk 4, classical 4, Jesus rock 3, Spanish music 3, sports 3, classic hits 3, business news 1, alternative 1, news 1, gospel 1, right wing talk 1, jazz/talk 1, adult album alternative 1, hard rock 1, far right wing religious talk 1.

No significant tropo here for about two weeks. Locals all booming in, including most flea-powered translators.

Of note:

88.9 at 1644. W205BL Frederick, MD. Classical music, excellent signal and sound. This is a 200 watt repeater for Washington's powerhouse WETA 90.9. Usually this channel belongs to WVEP 88.9, the West Virginia Public Radio station, with a 3600 watt tranmitter east of Winchester, VA. Fifteen minutes later WVEP was dominant. WETA is also simulcast on the 900 watt WGMS 89.1 Hagerstown MD, which is always good here.

90.5 at 2020. WCRH Williamsport, PA. "Adventures In Odyssey" with a morality tale about greed. ID "WCRH Williamsport" at 2027. Fair to good signal. The new WCRH 6 watt translator W216CM 91.1 Frederick MD is much closer to me, but not heard today. WCRH plays a mix of Jesus pop, preaching and children's programming.

91.3 at 1645. WARN Culpeper, VA with right wing religious politics. "American Family Radio" is always a rimshot here and always comes in with high noise levels, despite the fact that they have a clear channel in this area. Reception is always very poor but readable today with the antenna on the PL-600 parallel to ground. This station plays a lot of crazy shit, mixing up their programming between extreme right wing politics and evangelical christian fare.

93.5 at 1650. W228AM Frederick, MD. Classic country music, IDed as "100.5 and 93.5 Max Country." Sounds like they finally got their upgraded 150 watt rig up and running. They were earlier operating at 30 watts, usually a very poor signal here despite only being 20 miles away. W228AM is rebroadcasting the country format from an HD channel on their WWEG 106.9. W228BA Leesburg occasionally pops up here, one of the many "Positive Hits Radio" Jesus rock translators that are all over the countryside. And if the wind's blowing right, I can also hear on 93.5 W228DI Silver Spring, MD, a 130 watt repeater for WBQH 1050's "La Mera Mera" Spanish music station.

94.5 at 1922. WEAC Lancaster, PA. Very mellow Jesus music, ID at 1924. First time heard here. Momentarily interrupted by a big, brief fade-in from WRVQ "Q94" Richmond VA. WEAC faded in again at 2157 with SRN News and ID, mixing with Q94 again which IDed as "WRVQ Richmond" at the top of the hour.

96.7 at 1655. WCEI Easton, MD with a pop/adult contemporary mix and lots of commercials. Over the past few days this one's been overpowering the new local co-channel LPFM, WQER-LP, in Rockville, MD. WQER runs nonstop Chinese talk with very occasional classical Chinese music breaks.

[timemachineyeah]

It's been over five years but I'm still disappointed at the missed opportunity the 2011 Footloose remake was. The thing about Footloose is - it was topical. Rock music was the devil and certain towns did actually outlaw dancing. If it wanted to it could have been even more 80s topical and more directly address the racism that was behind the hatred of rock, as it would be over a decade before the last small towns finally desegregated their proms. But while fear of music made popular by black people and "occult is everywhere" scares haven't gone away, they take a different form now. And a 21st century movie about evil rock music doesn't make sense. There are few (or no) small towns left where dancing and rock are explicitly illegal. But there ARE small towns that have banned all school dances because Title IX and the Supreme Court prevent them from excluding gay kids, so the dance won't go on because of fear of the corrupting devil power of the homosexual. There aren't towns that have made whole music genres illegal any more - they've had to learn workarounds. But there are towns where you're guaranteed to get pulled over if the white cops hear hip hop in your car. There are towns that maybe made outrageously narrow laws regarding "public music" with "vulgar language" as a specific way to try to prevent rap and hip hop and any sexy pop from being played on the radio of where anyone might enjoy listening to it. A 2011 Footloose where all the school dances have been canceled because a lesbian couple wanted to attend, where a black or Latino kid moves to town and can't enjoy his (honestly not vulgar at all) hip hop in his own car without getting a talk to from the police (really, though, the music is just a convenient excuse, with his skin color he would have been stopped anyway), where kids are trying to enjoy some good music and movies but it keeps getting taken away and warned about from the local preacher because of The Gay Agenda. I mean millennials are well acquainted with the "adults don't understand how we have fun and think it's bad" narrative. But Footloose also had an underlying narrative of "prejudice and paranoia is keeping loving parents from being good to their kids because they're too busy panicking over non-problems to see the real problems" and fuck if The Gay Agenda panic I grew up with wasn't the early aughts equivalent. 2011 Footloose could have been so good and modern. Instead it was a terrible retread. And maybe my experiences are already outdated now. Idk what a 2017 Footloose would look like. But you have to update the themes and the story to make it contemporary. Even small town conservative Christians have mostly gotten over any moral panic over rock and roll. We live in the future.

[felicia-cat-hardy]

Morgan Harper Nichols On Her New Book & Autism Diagnosis

In 2014, Morgan Harper Nichols was living any singer-songwriter’s dream. A few days a week, the Atlanta native would join her younger sister on stage in Nashville to perform contemporary Christian music, with an acoustic guitar in hand and a deep alto voice to round out her younger sibling’s soprano. But the shows often left her depleted, and while on stage, she’d take out her in-ear monitors. The noise was too overwhelming. Off stage, she and her husband were constantly broke, despite her publishing deal with Capitol Christian Music Group. She had intrusive, spiraling thoughts: Why do I feel so drained? Why do I feel so tired? Am I a failure?

So she quit. The couple moved to Dallas, where she did freelance design work; he, construction jobs. On a rainy November night in 2016, still underpaid, underemployed, and feeling desperate, Harper Nichols put her feelings on paper. Without a melody, the lyrics read as a poem.

“When you start to feel/ like things should have been better this year/ remember the mountains and valleys that got you here,” it starts. She added her name to the bottom and uploaded the message to Pinterest. By January 2017, it’d been favorited 100,000 times.

Now, four years later, Harper Nichols’ work is sold at Pottery Barn, Anthropologie, and on her e-commerce site. She hosts a regular podcast, just released her third poetry collection, How Far You Have Come: Musings on Beauty and Courage, and in February, was diagnosed with autism spectrum disorder, news she shared with her 1.7 million Instagram followers. She’s trying to extend the same easy grace to herself as she does to them.

“I was working overtime to keep up socially and would miss out on social cues, like the tone of someone’s voice, which would lead to a miscommunication or awkward moment,” says Harper Nichols, 31. “I would cycle through what could be wrong, like, Maybe I'm sleep-deprived or stressed. I got to a point where I was like, There's got to be something more going on here.”

An answer came from TikTok. Unwittingly, she stumbled on videos from users like Alexandra Pearson and Paige Layle, who share stories about having autism as adults. Their experiences were familiar enough that Harper Nichols contacted a specialist.

According to Francesca Happé, a British neuroscientist at King’s College London, it’s possible that hundreds of thousands of girls and women are living with undiagnosed autism. A 2020 study in the Journal of Autism and Developmental Disorders found that girls are better at camouflaging their autistic traits than their male counterparts, which could explain the gender discrepancy, and also why women are more likely to be diagnosed as adults.

For Harper Nichols, her autism manifests as sensory overload and difficulties with executive functioning and social cues. “One of the main things my specialist told me after reading the diagnosis was, ‘It's not your fault,’” she says. “I just cried, because that's what I've been telling myself for a very long time. I sat in silence. It felt like a relief. This is so cheesy, but a song that came to my mind was the old Dashboard Confessional song ‘Vindicated.’”

I spoke with Harper Nichols last month, a few weeks before the release of How Far You Have Come. She calls from Phoenix, Arizona, where she moved last summer with her husband and their toddler son, Jacob. For the first time in their adult lives, they have a backyard. “Just to be able to have a space where I can go outside, take my shoes off, and stare up at the sky, that feels like home to me,” she says.

In the book’s poems and essays, Harper Nichols works to locate herself in place and time. Narratively, the chapters cross the American South state by state, from Georgia to California. She reflects on the “ancestral legacy” of the Mississippi River, the Grand Canyon’s celestial grandeur, and New Mexico’s Sandia Mountains. The poems speak to present selves, future relatives, and ancestors, like an enslaved woman running toward freedom.

As the daughter of pastors, Harper Nichols’ poems borrow the language of the pulpit, like “grace,” “surrender,” and “divine.”

“Growing up in the African American, Black church tradition is, in many ways, different from a lot of the more mainstream Christian traditions,” she says. “There are still some churches who don’t want to say Black Lives Matter or don't see that as an issue that needs to be talked about.”

Harper Nichols’ poetry generally sidesteps political landmines like former President Trump and social justice movements, relying instead on palatable devotional messages. Nature and color palettes have always been comforting to her, in a way that navigating social situations has not been.

An exception came on Jan. 6. After the Capitol insurrection, the poet turned to Instagram to lambast historical ignorance. As she watched Trump supporters storm the U.S. Capitol building, she recalled her own visit to D.C. a few years prior. She’d felt conscious of her body in the heavily monitored space and worried about tripping, lest she set off some policeman’s internal radar. And she thought of her dad who, at age 19, had been “slammed to the ground by police officers” on his way home from church, having been mistaken for someone else. “That’s where my body went, that’s what came up for me yesterday,” she says on her podcast.

How Far You Have Come hints at some of these ongoing struggles, and others specific to 2020. “I was writing this book [during] the racial unrest,” she says. “How many people have to die before we pay attention? I have also lost people to the virus, [and] when those phone calls come in, and you can't go to the funeral because they're across the country, it's a different kind of grief. It’s heavier. You have to sit with it. I was watching all of these unfold at the same time, feeling helpless and angry and frustrated. And I was also beginning the process of being diagnosed with autism. I was grieving all those years when I had been so hard on myself.”

She works through these emotions with colors, swirled and layered on an iPad. One of her favorite quotes comes from the late abstract artist Alma Thomas, the first Black woman to have pieces hung in the White House. “Through color, I have sought to concentrate on beauty and happiness, rather than on man’s inhumanity to man,” Thomas said in 1970. Reading the line today, it seems to embody Harper Nichols’ work, her words of encouragement and understanding, placed atop a bed of pinks, greens, and blues.

I ask if she considers her poems spiritual. “For me, they are,” Harper Nichols says. “As I'm writing my poems, sometimes they're prayers for the future.”

Get Relationship Advice Here

[hoynovoy]

Morgan Harper Nichols On Her New Book & Autism Diagnosis

In 2014, Morgan Harper Nichols was living any singer-songwriter’s dream. A few days a week, the Atlanta native would join her younger sister on stage in Nashville to perform contemporary Christian music, with an acoustic guitar in hand and a deep alto voice to round out her younger sibling’s soprano. But the shows often left her depleted, and while on stage, she’d take out her in-ear monitors. The noise was too overwhelming. Off stage, she and her husband were constantly broke, despite her publishing deal with Capitol Christian Music Group. She had intrusive, spiraling thoughts: Why do I feel so drained? Why do I feel so tired? Am I a failure?

So she quit. The couple moved to Dallas, where she did freelance design work; he, construction jobs. On a rainy November night in 2016, still underpaid, underemployed, and feeling desperate, Harper Nichols put her feelings on paper. Without a melody, the lyrics read as a poem.

“When you start to feel/ like things should have been better this year/ remember the mountains and valleys that got you here,” it starts. She added her name to the bottom and uploaded the message to Pinterest. By January 2017, it’d been favorited 100,000 times.

Now, four years later, Harper Nichols’ work is sold at Pottery Barn, Anthropologie, and on her e-commerce site. She hosts a regular podcast, just released her third poetry collection, How Far You Have Come: Musings on Beauty and Courage, and in February, was diagnosed with autism spectrum disorder, news she shared with her 1.7 million Instagram followers. She’s trying to extend the same easy grace to herself as she does to them.

“I was working overtime to keep up socially and would miss out on social cues, like the tone of someone’s voice, which would lead to a miscommunication or awkward moment,” says Harper Nichols, 31. “I would cycle through what could be wrong, like, Maybe I'm sleep-deprived or stressed. I got to a point where I was like, There's got to be something more going on here.”

An answer came from TikTok. Unwittingly, she stumbled on videos from users like Alexandra Pearson and Paige Layle, who share stories about having autism as adults. Their experiences were familiar enough that Harper Nichols contacted a specialist.

According to Francesca Happé, a British neuroscientist at King’s College London, it’s possible that hundreds of thousands of girls and women are living with undiagnosed autism. A 2020 study in the Journal of Autism and Developmental Disorders found that girls are better at camouflaging their autistic traits than their male counterparts, which could explain the gender discrepancy, and also why women are more likely to be diagnosed as adults.

For Harper Nichols, her autism manifests as sensory overload and difficulties with executive functioning and social cues. “One of the main things my specialist told me after reading the diagnosis was, ‘It's not your fault,’” she says. “I just cried, because that's what I've been telling myself for a very long time. I sat in silence. It felt like a relief. This is so cheesy, but a song that came to my mind was the old Dashboard Confessional song ‘Vindicated.’”

I spoke with Harper Nichols last month, a few weeks before the release of How Far You Have Come. She calls from Phoenix, Arizona, where she moved last summer with her husband and their toddler son, Jacob. For the first time in their adult lives, they have a backyard. “Just to be able to have a space where I can go outside, take my shoes off, and stare up at the sky, that feels like home to me,” she says.

In the book’s poems and essays, Harper Nichols works to locate herself in place and time. Narratively, the chapters cross the American South state by state, from Georgia to California. She reflects on the “ancestral legacy” of the Mississippi River, the Grand Canyon’s celestial grandeur, and New Mexico’s Sandia Mountains. The poems speak to present selves, future relatives, and ancestors, like an enslaved woman running toward freedom.

As the daughter of pastors, Harper Nichols’ poems borrow the language of the pulpit, like “grace,” “surrender,” and “divine.”

“Growing up in the African American, Black church tradition is, in many ways, different from a lot of the more mainstream Christian traditions,” she says. “There are still some churches who don’t want to say Black Lives Matter or don't see that as an issue that needs to be talked about.”

Harper Nichols’ poetry generally sidesteps political landmines like former President Trump and social justice movements, relying instead on palatable devotional messages. Nature and color palettes have always been comforting to her, in a way that navigating social situations has not been.

An exception came on Jan. 6. After the Capitol insurrection, the poet turned to Instagram to lambast historical ignorance. As she watched Trump supporters storm the U.S. Capitol building, she recalled her own visit to D.C. a few years prior. She’d felt conscious of her body in the heavily monitored space and worried about tripping, lest she set off some policeman’s internal radar. And she thought of her dad who, at age 19, had been “slammed to the ground by police officers” on his way home from church, having been mistaken for someone else. “That’s where my body went, that’s what came up for me yesterday,” she says on her podcast.

How Far You Have Come hints at some of these ongoing struggles, and others specific to 2020. “I was writing this book [during] the racial unrest,” she says. “How many people have to die before we pay attention? I have also lost people to the virus, [and] when those phone calls come in, and you can't go to the funeral because they're across the country, it's a different kind of grief. It’s heavier. You have to sit with it. I was watching all of these unfold at the same time, feeling helpless and angry and frustrated. And I was also beginning the process of being diagnosed with autism. I was grieving all those years when I had been so hard on myself.”

She works through these emotions with colors, swirled and layered on an iPad. One of her favorite quotes comes from the late abstract artist Alma Thomas, the first Black woman to have pieces hung in the White House. “Through color, I have sought to concentrate on beauty and happiness, rather than on man’s inhumanity to man,” Thomas said in 1970. Reading the line today, it seems to embody Harper Nichols’ work, her words of encouragement and understanding, placed atop a bed of pinks, greens, and blues.

I ask if she considers her poems spiritual. “For me, they are,” Harper Nichols says. “As I'm writing my poems, sometimes they're prayers for the future.”

Get More Dating Advice Here

[colourupuniforms]

4 best dance schools in Sydney

There is no greater form of individual expression than through dance. Whether you need important wedding dance lessons for your big day or just want to rip up the dance floor on a casual weekend, learning to move your body to music is simply a great way to have fun, learn and get some exercise all at the same time.

Needless to say though that not everyone out there is born to move it like Jagger. Perhaps you are a tad uncoordinated, lack the confidence to execute properly or just unsure about how to partake, it can really help the situation to get a bit of advice from a professional before venturing forward with your unique maneuvers.

This leads us nicely to an industry that is one the rise, both internationally and domestically. Dance studios do have quite the overlap with two different and distinct fields – entertainment/the arts and gyms/yoga studios.

The balance between fun, expression and fitness is not lost on those that join in with a friendly and open dance studio, making it a more enjoyable pastime than lifting weights or running on a treadmill; or the pressure that comes with performing in front of an audience.

Many looking in from the outside might know of one or two alternative styles of dance, but the array of options is almost limitless. Deriding from a variety of cultures all across the globe, modern dance studios can teach you everything from:

Mambo

Rumba

Salsa

Zumba

Cha Cha

Ballet

Flamenco

Blues

Jazz

Waltz

Folk Dance

Tango

Breakdancing

Krumping

Twerking

Grinding

Whatever your personal taste or necessity, there will be a dance studio out there for you to cater to this need. For any Sydney locals who are on the search for an open environment that teaches groups and individuals how to get the most out of their dancing moves, check out the following four locations.

Care To Dance

Situated in the heart of Sydney’s Inner West, Care To Dance is the invitation you will have been searching for. Open to appointments and only closed on Sunday, this enterprise is considered an elite boutique dance school that places a priority on a personalised teaching experience.

The majority of visitors usually arrive from one of two different scenarios – either among a social group wanting to bond and socialise over a dance activity, or individual students who will often have an event coming up like a wedding or performance of some description.

Classes and sessions are held for parties from both disciplines, yet Care To Dance will specialise in the following styles:

Ballroom

Disco

Rumba

Tango

Salsa

Waltz

The organisation seeks to give people an added move to their repertoire, allowing them to dance with confidence rather than watching others enjoy all the fun when the music starts.

If their own press does not exactly convince you that Care To Dance is the place to be to receive these helpful tips, then take it from those who have experienced it for themselves.

The glowing 5-star reviews illustrate how well instructors Alexia and Christian go about their work, catering to amateurs that require a great deal of patience, or those that are wanting to fast track their education.

Giving customers a cup of tea or coffee while they wait or have a much warranted break from the slick movement on show, everyone from their late teens to late 70s or 80s have championed the wonderful atmosphere that doesn’t lecture or preach to newcomers.

Issuing 5 stars at Big Review TV, Celeste Poulton has been blown away by her time with the studio:

“My fiancé and I started taking lessons here to build our dancing confidence and have fun together,” she wrote. “We are having the best time! After two lessons we already have so many more steps to use than I thought I’d ever remember. It is so much fun.”

Kylie Davis echoes those sentiments, arguing that the techniques given to the students makes the process all more easy, even without you realising it at the time.

“We love our lessons at Care To Dance. Christian is a great instructor and they have their program really well thought through that breaks down the different dances into segments.”

L.I.K.E. Dance

For those that take their dance a little more seriously than just a hobby or for a one-off event, then L.I.K.E. Dance at St Leonards would be a better option.

Having recently been handed the 2017 Studio of Excellence award at the Rainbow Dance competition, this studio is considered one of the greatest breeding grounds in Sydney for children and adults who are keen on developing their choreography and articulating dance through a mode of storytelling.

Open to studio rental for people or parties that would like the space for their own dancing ventures, L.I.K.E. Dance offers a first up free dance class for newcomers and even performers for hire for those wanting professionals on hand at an event.

This incentive to draw people in clearly works, as their program is open to all manners of styles and disciplines of the craft:

Children classes between 3 and a half years old to 17

Adult classes that range from technical to hip-hop, jazz, modern and contemporary styles

Acrobatics classes

Classical ballet

Competition groups

Wedding Dance

Private classes

The team led by creative director Elena don’t just see dance as a happy past time, but a mode of expression that demonstrates character and emotion. Her team is complimented by some of the most gifted and certified dance teachers in the city, including acrobatics coaches Jackson, Josephina, Lana and choreographer Katerina.

Fees will vary depending on the nature of the class you have selected, but they do offer one month of free classes under the following conditions:

Bring a friend along for an introductory class before they enroll in at least two classes per week, under the explicit understanding that they were introduced by yourself

Spotted only 10 minutes walk from St. Leonards train station, this spacious surround between the Small, Medium and Large Halls are kitted with air conditioning, mats, bars, mirrors and sound equipment to ensure the acoustics elevate the dancing experience.

Dance Central

With a proud history that dates back to 2002, Dance Central is a thriving hub of activity with a legion of great teachers.

From new age styles to the old classical dances, professionals from B Boy Red to Dan Hu, Jean Chritz, Kate Turner Mann, Rosie Cicchitti, Crystal, Yannick, Sam Woods and many more can cater to a variety of cultures and interpretations.

The challenge with Dance Central is not trying to find a dance that suits your needs, but sifting through the sheer weight of options on hand. Essentially every dance genre possible is on the table, including sub-genres that delve into the techniques and meanings behind the movements.

Take any number of these dances as a study, either individually or as a group:

Burlesque

Afro Fusion

Break Dance

High Heels

Jazz

Samba Reggae

Tap

Modern Tango

Hip Hop Beginner/Street Funk

Belly Dancing

French Cancan

Club/Party Dance

Musical Theatre

Jamaican Dancehall

Hawaiian Hula

Contemporary

The studio happens to be an open venue ready to hire for private events, inclusive of Hen’s parties. Dance Central hosts the annual Tour De Dance to showcase their array of talented performers, kicking off in October to put on a show complete with Brazilian Samba, Hip Hop, Burlesque and much more!

Brand new workshops are being developed consistently, such as Loren Robinson’s “Filthy” Hip Hop workshop in recognition of Justin Timberlake’s new album. These workshops are a great method of expressing the teacher’s creativity with new material, something that you will not find across many studios in Sydney.

To sign up to one of these programs, you must have been pre-paid and pre-signed, yet Dance Central is an environment that welcomes first timers to Surry Hills. Recommended to attend at least 5-10 minutes before an open class begins, no bookings are required to get involved.

Crossover Dance

The XO Crossover Dance Studio situated in Sydney is the city’s premiere location for all things dance. Performers from all over the country have congregated to this center to learn, educate and showcase their skills on the dance floor.

There are a number of features that illustrates why this enterprise is on the cutting edge of the industry. For starters, there is an online Crossover App available on Google Play and the App Store for regulars and occasional visitors. This allows a 10-Class Pass for a cut down price of $150 (until April) and is designed around ease of use and speed of access.

Class registration is accelerated through the app and bookings can be made instantaneously. Each consumer who switches their 10-Class Pass onto the app also scores free water.

This modern dance facility is home to variety of dance styles:

XO KPOP

Breaking

Street Dance

House

Popping

LA Style (Urban)

Locking

Hip Hop

Catering different groups of instructors to these respective disciplines, Crossover provides specialty wedding classes that involve the salsa, waltz and various street interpretations for the couple’s big day.

The Asian influence runs throughout the studio, taking inspiration from the culture of the southeast region. Each and every instructor brings their unique interpretation and experience to the center.

As the owner and director of Crossover Dance Studio, Jaye Sutanto is considered one of the true pioneers of Kpop dance in the Western world.

That background translates to the team of teachers and artists he has personally assembled, bringing aboard forward thinking and bold dancers who strive to push the boundaries and discover something new about the industry.

The central objective that Jaye embodies is to provide a studio that is fun and interactive where Sydney locals and outsiders can get involved. His personal profile has amplified after various segments on Google and SBS PopAsia, providing the groundwork to feature at The Sydney Opera House and Sydney Town Hall respectively.

Modern music is a common thread that also happens to run through the studio. From Kpop to Jazz, R&B and House music, this is an ideal environment for teens, 20 and 30-somethings to really tap into their love for music and dance. Although it must be noted that this is not an ageist policy – open to people of any generation.

The location is ideal for commuters traveling by foot, bus or train just minutes away from Central and Town Hall stations.

Once you feel confident in your dancing ability, it’s time to enjoy yourself and reap the rewards of all of your hours of practice! Invite your family or friends out to a dance class, party, bar, or club. Alternatively, you can invite them over to your home for an informal night of dancing and fun.

Make Your Own Custom Dance Uniforms with Colourup Uniforms.

We are the Specialist in all Kind of Custom Dancewear and Uniforms

Our Custom made Dance Polos and Sublimated Dance Jerseys gives you the luxury and durability you need for your dance Performance.

Sleek and stretch resistance are going to give you and your entire team the kind of presence on the field.

Below are some of the categories for you to explore.

Categories:

Design Your Own Custom Dance Apparel

Design Your Own Custom Dance Uniforms 

Design Your Own Custom Dance Wears

Design Your Own Custom Mens Dance Polos

Design Your Own Custom Mens Long Sleeve Polos

Design Your Own Custom Mens Dance Jerseys

Design Your Own Custom Mens Long Sleeve Jerseys

Design Your Own Custom Mens Dance Jacket 

Design Your Own Custom Mens Dance Singlets

Design Your Own Custom Ladies Dance Polos

Design Your Own Custom Ladies Long Sleeve Polos

Design Your Own Custom Ladies Dance Jerseys

Design Your Own Custom Ladies Long Sleeve Jerseys

Design Your Own Custom Ladies Dance Jacket 

Design Your Own Custom Ladies Dance Singlets

Design Your Own Custom Button up sleeved Jerseys

Design Your Own Custom Dance Hoodies

Reference:

https://bestinau.com.au/best-dance-studios-sydney/

[newyorktheater]

October is always a busy month for theater in New York, but it’s gone up a notch this time. Below is a selection, organized chronologically by opening date.

On Broadway alone, eight shows are opening this month, an unusually high number, and they’re widely varied: two new plays by dramatists making their Broadway debuts (including one still in school) and two new plays by Pulitzer winning playwrights; a concert by David Byrnes; hip hop improv by the group co-founded by Lin-Manuel Miranda; a musical based on a young adult fantasy novel;  a Tennessee Williams revival starring Marisa Tomei. And that doesn’t even include the latest edition of “Forbidden Broadway,” which encompasses all of Broadway, but will be running (as usual) Off Broadway.

Also Off-Broadway Jonathan Groff, Tammy Blanchard, and Christian Borle are returning to New York — all in the same show, a revival of “Little Shop of Horrors.”  A new musical by David Henry Hwang and Jeanine Tesori is opening at the Public; Thomas Kail (the Hamilton director who is helming the improv show  on Broadway) is directing “The Wrong Man” starring Joshua Henry at MCC; Repertorio Espanol has adapted Junot Diaz’s Pulitzer winning novel for the stage.

Given what’s happening in the news, it shouldn’t be too surprising that there are two different versions of Macbeth opening this month, plus any number of plays about politics… and politicians — Brian Cox as LBJ and Harvey Fierstein as Rep. Bella Abzug.

The New York International Fringe Festival, which moved last year from August to October,  is in this second go-round in the new month seriously pared down to 40 shows (from the usual 200), but that’s still intimidating.

The Fringe shows are not the only out-there shows running in October. There is an immersive version of Sondheim’s “Into The Woods” and a show at BAM with a cast of 100 that has a runtime of 24 hours.

Each title below is linked to a relevant website.

Color key: Broadway: Red. Off Broadway: Purple, blue or black. Off Off Broadway: Green.Theater festival: Orange.Puppetry: Brown. Immersive: Magenta.

October 1

The Great Society (Vivian Beaumont)

A follow-up to Robert Schenkkan’s play “All The Way, this one follows President Lyndon B. Johnson (this time starring Brian Cox) during his presidency from his election until his resignation.

Dublin Carol (Irish Rep)

In this play by Conor McPherson, John Plunkett is haunted by memories of a shameful past and shattered life. On Christmas Eve, an unexpected visit from his estranged daughter, Mary, forces John to confront his demons and grapple with his chance at redemption.

October 2

Freestyle Love Supreme (Booth)

The hip-hop improv show co-founded by Lin-Manuel Miranda comes to Broadway

The New Englanders (MTC)

In Jeff Augustin’s play, Eisa wants to be the next Lauryn Hill and is struggling to break free of her sleepy New England town where she feels hopelessly trapped. Her fathers are being pulled in different directions of their own.

October 3

Fringe BYOV

The New York International Fringe Festival has been pared down from its first two decades. That still leaves 40 shows, but, unlike previous years, none have been adjudicated. Following the Edinburgh model, any company could put on a show. The BYOV means Bring Your Own Venue; the idea was to present theater in all five boroughs,  but only one of the six venues this year is outside Manhattan. Irondale in Brooklyn features four shows, including  Savana Glacial (pictured above) a dark comedy about a love triangle written by the most celebrated living contemporary Brazilian playwrights, Jô Bilac;  The Four of Us, a revival of the 2007 play by Itamar Moses (The Band’s Visit); and Update, by MAD LAB, an immersive performance-ritual using music, dance, theater, creative technology, and installation art

October 6

Slave Play (Golden)

The Old South lives on at the MacGregor Plantation — or so it initially seems, with three interracial couples engaging in sexual gamesmanship. My review of the play Off-Broadway

October 7

Heroes of the Fourth Turning (Playwrights Horizons)

Set in Wyoming a week after the deadly 2017 Charlottesville riot, the new play sees four young conservatives reunite for a backyard barbecue in Wyoming. Written by Will Arbery (“Plano”)

October 9

The Wrong Man (MCC)

With book, music and lyrics by Ross Golan, direction by Thomas Kail (Hamilton), this musical is set in Reno, Nevada, and tells the story of Duran (Joshua Henry), a man just scraping by who is framed for a murder he didn’t commit,

October 10

Linda Vista (Second Stage’s Hayes)

In Tracy Letts’ play, Wheeler is a 50-year-old divorcee in the throes of a mid-life spiral. Just out of his ex-wife’s garage and into a place of his own, Wheeler starts on a path toward self-discovery—navigating blind dates, old friends, and new love.

Terra Firma (Baruch)

Years after a conflict known as the Big War,  a tiny kingdom wrestles with the problems of running a nation

October 12

The Pout Pout Fish (New Victory)

A new musical based on the best-selling children’s book series. After everyone’s favorite frowny fishie tries to glimpse his reflection in Ms. Clam’s mystical pearl, both Pout-Pout and the pearl are suddenly swept out to sea!

The Unbrunch

Explore Wonderland on five floors of a building in “a secret location in Chelsea”

  October 15

The Rose Tattoo (Roundabout’s American Airlines)

Marisa Tomei stars in a revival of Tennessee Williams’ play about Serafina, a widow, who rekindles her desire for love, lust, and life in the arms of a fiery suitor

Soft Power (Public)

An odd and hilarious fever dream imagining an American musical as created by theatermakers in a future dominant Chinese society, created by David Henry Hwang (M. Butterfly, Yellow Face) and Jeanine Tesori (Fun Home; Violet; Caroline, or Change)

Scotland, PA (Roundabout’s Laura Pels)

A new musical adaptation of Billy Morrissette’s 2001 film riffing on Macbeth, set in a sleepy Pennsylvania town, involving the manager of a burger joint and his ambitious wife.

The Brief Wondrous Life of Oscar Wao (Repertorio Espanol)

Marco Antonio Rodríguez adapts the Pulitzer Prize-winning novel by Junot Diaz about Oscar, a naive “nerd” from New Jersey who has finally left the grips of his imposing Dominican mother and is attending his first semester of college at Rutgers with his rebellious sister.  He has big dreams, but feats he won’t get them because of the “fukú”—a curse that has haunted Oscar’s family for generations. In Spanish with English subtitles.

October 16

The Lightning Thief (Longacre)

Director Stephen Brackett (“A Strange Loop”) and book writer Joe Tracz bring Rick Riordan’s bestselling young-adult fantasy novel to Broadway. My review when it was Off-Broadway

  Forbidden Broadway The Next Generation (The Triad)

After a five year absence, Gerard Alessandrini is back, roasting everything you’ve seen on Broadway since the last edition of Forbidden Broadway.

Last Audience (New York Live Arts)

“A live laboratory for the communal work of conjuring…comprised of a set of unique scores written for each performance.” This is free with a RSVP, but you consent to being filmed. There is also a free public meal before each performance.

October 17

The Sound Inside (Studio 54)

Mary-Louise Parker stars in this play by Adam Rapp: A brilliant Ivy League professor, a mysterious student and a troubling favor.

Little Shop of Horrors (West Side Theater)

Seymour is a down-on-his-luck florist with a crush on his co-worker Audrey. When he discovers a mysterious – and voracious – plant, suddenly Seymour and Audrey are thrust into an epic battle that will determine the fate of the entire human race. A revival hard to argue with, given that its cast includes Jonathan Groff, Tammy Blanchard, Christian Borle

Into the Woods 

Rooftop Musical Society immersive version of Sondheim’s fractured fairytale, unfolding on two floors of St. Paul’s Lutheran Church in Williamsburg, Brooklyn. “Audience members might find themselves having a drink at the tavern with the witch (who raps!), buying some bread (or sweets) from the Baker and his wife, helping Jack sell his cow for magic beans, trying on Cinderella’s gold slipper, or flirting with royalty.”

October 18

All Hallows Eve (Connolly)

A new horror musical using puppetry about twins bored with Halloween who are confronted by a demoness. Comic, bloody and “definitely not for young children.”

The Second Woman (BAM)

An only-at-BAM kind of show. Over a period of 24 hours, one woman and 100 men repeat the same scene 100 times, with different results. It’s inspired by Cassavetes’ meta-theatrical 1977 film Opening Night. Stay as little or as long as you want.

October 20

David Byrne’s American Utopia (Hudson)

A stage adaptation of David Byrne’s 2018 album

Games (Soho Playhouse)

Based on a true story and set in 1936, Berlin, where Jewish athlete Helene Mayer is selected for the Nazis’ Olympic Squad.

The Independents (The Theater Center)

Playwright Christopher Ward imagines the stormy relationship between young American artist Mary Cassatt and great French master Edgar Degas.

October 21

Power Strip (Lincoln Center) 

In this new play by Sylvia Khoury, Yasmin, a young Syrian refugee, spends her days tethered to an electric power strip in a Greek refugee camp, discovering that she must forget everything she values in order to survive.

October 22

For Colored Girls….(Public)

A revival of Ntozake Shange’s “For Colored Girls Who Have Considered Suicide/When The Rainbow is Enough,” an unlikely Tony-nominated  hit on Broadway in 1976 that Shange (who died last October) called a “choreopoem.” It tells the stories of seven black women using poetry, song, and movement.

Bella Bella (Manhattan Theater Club)

Harvey Fierstein stars as Bella Abzug in a solo-play he’s written set in 1976, on the eve of her bid to become New York State’s first female Senator,

Is This A Room? (Vineyard)

A play based on verbatim FBI transcripts of the interrogation of 25-year-old former Air Force linguist named Reality Winner. She surprised at her home by the FBI, interrogated, and then charged with leaking evidence of Russian interference in U.S elections. Reality remains in jail with a record-breaking sentence.

October 23

What If They Went To Moscow (BAM)

Based on Chekhov’s Three Sisters,but experimental with audience reactions to two different media. Two audiences in different BAM theaters watch the live performance of the show — one on stage, the other as a film — and then switch at intermission.

October 26

Cole Porter at the York

Panama Hattie (York)

A revival of Cole Porter’s 1940’s hit, in which a brassy nightclub owner must bid for the approval of her fiancé’s family

October 27

Macbeth (CSC)

Corey Stoll and Nadia Bowers star in Shakespeare’s tragedy.

The Michaels (The Public)

Richard Nelson, best-known for his multi-part, low key, in real time family sagas The Apple Family plays and The Gabriels:Election Year in the Life of One Family, brings us another one. In the kitchen belonging Rose Michael, a celebrated choreographer, she and those around her cook dinner, rehearse modern dances, eat and talk — about art, death, family, dance, politics, and the state of America. The seven-member cast includes Nelson regulars Jay O. Sanders and Maryann Plunkett.

Monsoon Season (Rattlestick)

In this “brutally demented romantic comedy” by Lizzie Vieh, it’s monsoon season in Phoenix, Arizona, and recently separated couple Danny and Julia are spiraling into chaos.

October 28

Seared (MCC)

Theresa Rebeck’s play about a talented by temperamental chef who scores a big mention in the press for his signature scallops,  but, much to the frustration of his business partner, refuses to repeat himself for the masses. Cast includes Raul Esparza and Krysta Rodriguez

October 29

The Hope Hypothesis (Sheen)

A black comedy by Cat Miller about an immigrant from Syria and a law student who goes to get her green card and gets caught into the maze of immigration hysteria.

October 30

Hamnet (BAM)

Irish theater company Dead Centre, inspired by Shakespeare’s son Hamnet, who died at the age of 11, creates a play about a boy searching for his father

October 2019 New York Theater Openings October is always a busy month for theater in New York, but it's gone up a notch this time.

[richmegavideo]

‘Hotel Mumbai’ Best Among New Specialized Releases as ‘Gloria Bell’ Reaches Top 10

“Gloria Bell” shows some traction and enough heft to reach the Top Ten in its third weekend, and “Apollo 11” continues to grow, but overall the top adult-audience specialized titles see mixed results. This weekend’s releases also includes “Hotel Mumbai” which, like last week’s “The Mustang” and “The Aftermath,” will see wide national releases with hopes of some crossover success. The reality is limited openings with openings similar to “Hotel Mumbai” and others usually don’t break out beyond a modest level.

Opening

Hotel Mumbai (Bleecker Street) – Metacritic: 61; Festivals include: Toronto 2018

$86,492 in 4 theaters; PTA (per theater average): $21,623

This recreation of the 2008 terrorist attack on Mumbai’s most famous hotel got the highest theater placement in New York and Los Angeles. Starring Dev Patel, it received mildly favorable reviews. It is expanding quickly, with a limited initial run in contrast to Bleecker Street’s kidnapping thriller “Beirut” last year, which had 755 theaters initially on its way to $5 million total.

What comes next: The second-week expansion should see a total around what “Beirut” opened to last year.

“Dragged Across Concrete”

Dragged Across Concrete (Lionsgate) – Metacritic: 61; Festivals include: Venice 2018; also available on Video on Demand

$(est.) 50,000 in 34 theaters; PTA: $(est.) 1,471

S. Craig Zahler’s 2017 “Brawl in Cell Block 69” had an impressive theatrical take in its day-and-date theater/home release. His new film, with two veteran cops trying to get back on the force by going underground in the mob world, has Mel Gibson and other veteran action actors. The home stats are not available, but that is where the action should be for this. Meantime, theater play gave this review attention — some positive, but not at the same level as “Brawl.”

What comes next: This should get elevated home attention.

Sunset (Sony Pictures Classics) – Metacritic: 70; Festivals include: Venice, Toronto 2018

$(est.) $15,006 in 3 theaters; PTA: $5,002

Hungarian director Laszlo Nemes’ prior film “Son of Saul” won the Foreign Language Oscar. This 1913 Budapest-set drama didn’t make the final selections this year. It received favorable reviews and top-end theater placement in its initial New York/Los Angeles dates, with the initial results disappointing and below several other recent, better-reviewed subtitled openers.

What comes next: Washington and San Francisco open this Friday, with an expected full big city national play.

Out of Blue (IFC) – Metacritic: 49; Festivals include: Toronto 18; also available on Video on Demand

$17,682 in 35 theaters; PTA: $505

This British-produced crime story features a diverse cast (Patricia Clarkson, Jame Caan, Jacki Weaver, and Toby Jones). It got mostly mixed or lower reviews as a theatrical release, which came alongside its parallel home viewing venues. The theater take is minimal.

What comes next: Its future presence will be VOD.

  “The Mustang”

Tara Violet Niami

Week Two

The Mustang (Focus)

$228,000 in 38 theaters (+34); PTA: $6,000; Cumulative: $322,000

The better grossing of the two top releases last weekend had the better PTA, as well as the superior Saturday uptick. This Nevada prison-set horse taming story (in English, though French produced) should expect further expansion and some additional interest. The weekend results set it up for wider release ahead.

The Aftermath (Fox Searchlight)

$123,000 in 26 theaters (+21); PTA: $4,731; Cumulative: $203,254

Keira Knightley and Alexander Skarsgard as British citizens in occupied post-War Germany are giving this drama some lift, despite mediocre reviews. The second weekend in still limited release yielded modest results.

Ash Is Purest White (Cohen)

$69,685 in 35 theaters (+28); PTA: $1,991; Cumulative: $133,094

A second-weekend expansion for this Chinese film, with some of the best reviews this year so far, yielded mixed results. The break included prime art houses and some in Chinese-American communities.

The Hummingbird Project (The Orchard)

$78,834 in 41 theaters (+37); PTA: $1,923; Cumulative: $123,949

This Canadian thriller with a top quality-cast (Jesse Eisenberg, Salma Hayek, Alexander Skarsgard) set in the fiber-optics world has seen spotty results, with no clear sense yet that this will warrant a significantly wider run.

“Apollo 11”

Ongoing/expanding (Grosses over $50,000)

Gloria Bell (A24) Week 3

$1,803,000 in 654 theaters (+615); Cumulative: $2,498,000

Julianne Moore stars this scene-for-scene remake of a Chilean film with the same director, which went nationwide this weekend with a decent initial result. How it sustains will be better determined after another weekend, but its Top Ten showing (#7, benefiting from a weak holdover slate) will get it even more attention.

Apollo 11 (Neon) Week 4

$800,000 in 586 theaters (-2); Cumulative: $6,865,000

A very healthy hold for this documentary (down 31 percent in virtually the same theaters). This portends a continued run for what is already a successful release.

Green Book (Universal) Week 19; also available on Video on Demand

$600,000 in 841 theaters (-479); Cumulative: $83,880,000

The Oscar winner has added $14 million since its big night.

Fighting With My Family (MGM) Week 6

$509,274 in 903 theaters (-677); Cumulative: $21,929,000

Though it might not hit $25 million, this British-set wrestling biopic has maximized by its distributor (which has evolved into United Artists, and is the same group releasing Annapurna titles).

Everybody Knows (Focus) Week 7

$122,000 in 143 theaters (-105); Cumulative: $2,553,000

As the top-grossing title in the flurry of post-awards subtitled releases, it could end up around $3 million. That’s an excellent total these days without the extra boost of Oscar attention, with the director (Asghar Farhadi) and actor (Penelope Cruz, Javier Bardem) attachments major draws.

Transit (Music Box) Week 4

$113,503 in 72 theaters (+28); Cumulative: $389,210

Christian Petzold’s inventive contemporary (or is it?) political refugee romantic thriller widened further. In a crowded market, it’s still seeing a modest response.

“Woman at War”

Woman at War (Magnolia) Week 4

$(est.) 75,000 in 41 theaters (+12); Cumulative: $(est.) 230,000

From Iceland, this well-reviewed story of an activist’s unconventional defense of the environment and the dilemmas she faces continues to get some response at specialized locations.

The Wedding Guest (IFC) Week 4; also available on Video on Demand

$66,427 in 93 theaters (-3); Cumulative: $330,144

Starring Dev Patel, this premiered at Toronto 2018 and has been limited to theaters willing to play a film with early VOD options.

Arctic (Bleecker Street) Week 8

$52,927 in 71 theaters (-26); Cumulative: $2,254,000

An example of a superior adventure film getting a specialized release, this will max out around $2.5 million.

Birds of Passage (The Orchard)

$52,486 in 85 theaters (-12); Cumulative: $449,415

This is another acclaimed subtitled film at the level of the recent Oscar nominees that isn’t getting the gross it deserves, despite reaching appropriate theaters.

Also noted:

Free Solo (Greenwich)- $48,660 in 42 theaters; Cumulative: $17,439,000

Never Look Away (Sony Pictures Classics) – $45,130 in 144 theaters; Cumulative: $1,077,000

Stan & Ollie (Sony Pictures Classics) – $32,971 in 79 theaters; Cumulative: $5,392,000

Capernaum (Sony Pictures Classics) – $28,244 in theaters; Cumulative: $1,568,000

The Iron Orchard (Santa Rita) – $11,385 in 13 theaters; Cumulative: $197,991

Ruben Brandt, Collector (Sony Pictures Classics) – $10,454 in 43 theaters; Cumulative: $98,420

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[blackkudos]

Oleta Adams

Oleta Adams (born May 4, 1953, Seattle, Washington) is an American soul, jazz, and gospel singer and pianist.

Biography

Adams was born the daughter of a preacher and was raised listening to gospel music. In her youth her family moved to Yakima, Washington, which is sometimes shown as her place of birth. She got her musical start in the church.

Before gaining her opportunity to perform, Adams faced a great deal of rejection. In the 1970s, she moved to Los Angeles, California where she recorded a demo tape. However, many music executives were exclusively interested in disco music rather than Adams' preferred style.

With the advice of her singing coach, Lee Farrell, Adams moved to Kansas City where she did a variety of local gigs. Adams started her career in the early 1980s with two self-financed albums which had limited success.

Collaboration with Tears for Fears

In 1985, Adams was discovered by Roland Orzabal and Curt Smith, founders of the English band Tears for Fears, while she was performing in a hotel bar in Kansas City, Missouri whilst they were on a US tour. Two years later, they contacted her to invite her to join their band as a singer and pianist on their next album, The Seeds of Love.

In 1989, the album was released and the single "Woman in Chains", sung as a duet by Adams and Orzabal and with Phil Collins on drums, became her first hit. Adams embarked on a world tour with Tears For Fears in 1990, performing by herself as the supporting artist at the start of each show, and remaining onstage throughout the Tears For Fears set where she would provide piano and vocals.

1990s

Following her work with Tears For Fears, Adams was offered a recording contract by their label, Fontana Records, and restarted her solo career in 1990, assisted by Orzabal, who co-produced her new album, Circle of One. The album received much critical acclaim, and (after a slow start) eventually peaked at #1 in the UK in 1991 after she scored her biggest hit to date with her Grammy nominated cover of Brenda Russell's "Get Here". The song reached the UK and US top 5 and became popular during the 1991 Gulf War conflict as families of deployed troops in the region embraced the tune as a theme song. 1991 also saw Adams sign to independent music publisher Fairwood Music (UK) Ltd. and contribute to the Elton John/Bernie Taupin tribute album, Two Rooms, on which appeared her version of John's 1974 hit "Don't Let the Sun Go Down On Me". Adams' version became another top 40 hit in the UK.

Her next album, Evolution (1993), was also a commercial success, making the UK top 10. It also featured her self-penned adult contemporary single "Window of Hope". Her 1995 release, Moving On, saw Adams move more in the direction of R&B, and she also reunited with Roland Orzabal for the duet "Me and my Big Ideas" on the Tears For Fears album Raoul and the Kings of Spain the same year. Two years later she released the Christian themed album Come Walk with Me.

In 1998, she toured as a guest vocalist on Phil Collins's Big Band Jazz Tour.

2000s

In 2001, Adams released her sixth album, All The Love, a return to an R&B/Adult contemporary sound. The album was re-released in 2004 in Germany with a different title I Can't Live a Day without You.

In 2004, Adams reunited with Tears for Fears once again as she made a surprise guest appearance onstage at their Kansas City concert, performing "Woman in Chains".

On October 3, 2006, Adams released her first Christmas album, entitled Christmas Time with Oleta.

On April 21, 2009, Adams released her eighth album entitled Let's Stay Here.

On February 10, 2017, Adams released her ninth album, her first album in eight years, entitled Third Set.

Personal life

In 1994, Adams married drummer John Cushon at a United Methodist church in Kansas City, where they both taught Sunday School. They met in 1980 while working on a demo tape for Adams. Adams stated that she never had a passion to get married but on January 17, 1994 she and Cushon were involved in the Los Angeles earthquake. Adams referred to this as a sign from God that she was ready to get married.

Discography

Studio albums

1982: Untitled

1983: Going on Record

1990: Circle of One

1993: Evolution

1995: Moving On

1997: Come Walk with Me

2001: All the Love

2009: Let's Stay Here

2017: Third Set

Holiday albums

2006: Christmas Time with Oleta

Compilations

1996: The Very Best of Oleta Adams

2004: The Ultimate Collection

Wikipedia

[lvaartebella]

Feature: Elmer Lucille Allen

On March 1, 2018, Louisville Art will present Elmer Lucille Allen with the Legacy Award, in memory of Julius Friedman. This is a reprint of an Artebella Feature from February 2017. 

"I love the academic environment. I am a perpetual student." — Elmer Lucille Allen

When Kentucky Center for African American Heritage Center Director Aukram Burton describes Elmer Lucille Allen as, “one of our Elders,” he is not just acknowledging that the ceramic and fiber artist is an Octogenarian. The term carries weight in various cultures, but in parts of Africa it specifically denotes a connection to ancestors, the dead who remain vested with mystical power in the kin-group, and the elder’s authority stems from the idea that they are representatives of the ancestors to the contemporary community.

Elmer Lucille Allen is as approachable and convivial as anyone you would ever meet, but she is a “senior” (the far less satisfying American appellation) who has never truly retired. She earned the gold watch, so to speak, after 31 years as a chemist at Brown-Forman, where she was the first African American chemist to be hired (in 1966). In the twenty years since she retired, she has established herself as one of the most important artists in Louisville and an important influence on succeeding generations.

In person, Ms. Allen is an archetypal matriarch, speaking in the unadorned but nurturing language you would expect from any great-grandmother. She exhibits little outward evidence of the depth of her academic background, the years spent as a community activist, and the position she occupies in local history; she never wears her ‘status’ on her sleeve. She puts it this way: “I take it as an honor because what I do is part of who I am.”

“I became involved in the art scene in the early 1980s when Ken Clay, then head of Renaissance Development, held the first African American (AA) Arts Conference at the Galt House. After this conference, the Kentucky Coalition for Afro-American Arts, Inc. (KCAAA) was formed. I was the first and only president of this organization that lasted 10 years. When I decided that I did not want to continue as President, the treasury was donated to the Arts Council of Louisville. I was a charter member of the ACOL and a treasurer for four years.”

Ms. Allen states she has never felt a bias in the arts, but her history before she was an artist is another matter, and reflects the time. “Remember, I came up through a segregated system and did not have classes with a white person until I was a junior in college. I experienced racial difference when Nazareth College (now Spalding University) graduates in 1953 were looking for a place to host a graduation event. The event was eventually held at the Knights of Columbus Hall.”

“When I graduated I could not get a job as a chemist in Louisville. The only jobs available were teaching. My first job was as a clerk typist in Indianapolis, Indiana, at Fort Benjamin Harrison. There was bias on that job - one person from a city in Indiana had never been around a "colored" person, but you have to be who you are and stand up for what you believe. ‘Speak to a person even if the person does not acknowledge you.’” 

Allen took her first pottery class at Seneca High School in the late 1970’s after her children were all grown and out of the house. She never gave empty nest syndrome a chance, following up with mold ceramics or pottery classes through JCPS and New Albany adult education. But this was still just the beginning: “Then I enrolled in a ceramics class at Metro Arts Center where I studied with Melvin Rowe. Also, while I was a student there I had the pleasure to meet Laura Ross, a national ceramic artist who encouraged me to take classes at the University of Louisville with internationally recognized ceramicist Tom Marsh.”

But studying ad hoc wasn’t enough, and, after retiring she decided to seek a masters in ceramics at U of L. It was while studying for her master’s that she was introduced to a second art media - fiber/textiles. “My thesis exhibition consisted of stenciled wall hangings and over 200 reduction fired porcelain sculptural boxes that were placed on boards on the floor, which meant you had to view the pieces while standing.”

Whatever racial or gender restrictions she encountered in her earlier life, Allen’s first years in the art world were mostly lacking in such difficulties. “I have not experienced any discrimination as a woman artist or as an artist of color. My work does not depict any culture - it speaks for itself. I create work that I enjoy making. I do not do commissions. I have been fortunate because I did not have to depend on selling art for a living. I retired in 1997 and have been volunteering in some capacity ever since.”

Yet she is not blind that many artists of color find it a challenge to reach wider audiences and secure their place at the larger community table, particularly in the visual arts world. “I think that one organization needs to take control. At the present every organization's president has their own agenda and is not looking out for other persons or organizations, and small organizations normally do not have a specific place, computer equipment, or expertise for such large undertaking.” 

One of the values of being an Elder is that you have been a witness to the changes in the arts and cultural landscape that surrounds you. Allen can recount a time when there was much effort in the name of unity and inclusion. “Years ago, Louisville Visual Art had a large (non-digital) database of artists and arts organizations. The Kentucky Arts Council funded two directories of African American artists in the Commonwealth of Kentucky. Two conferences were held, one in Lexington, and one in Louisville. They conducted free workshops for the community at the Chestnut Street YMCA, West End branch of the YWCA, as well as other venues. Bale McKnight, who conducted drum making at the YMCA, created a drum that was in Chickasaw Park, which was the first public art project in the West End. KCAAA was the fiscal agent for Educations Arts and the dance group founded by Harlina Churn.” You see, Elders know the history.

So how does Louisville recapture that level of motivation again? What actions need to be taken today to build a functional community network? Allen feels, “Everyone is waiting for someone else to do the hard work,” but individuals who want to be leaders need to focus on developing their game in crucial ways; Elders also get to give advice:

Organizational and leadership skills are a must. 

You have to show up and be willing to assume responsibilities. 

You must not be afraid to fail. You learn from your mistakes.

You, as a leader, must be presentable and responsible for your actions at all times. Remember the golden rule - Do unto others as you want others to do to you.

You must be punctual.

Respect the time of others. Meetings should have an agenda and should not exceed two hours.

So how does this near-iconic status affect Elmer Lucille Allen’s work as an artist? Or does it? “My work is not impacted by my place in history,” states Allen. ”The work that I have done since 1981 speaks for itself. I have been the volunteer curator/director of Wayside Christian Mission's Wayside Expressions Gallery since 2005.  My goal is to showcase artists, some of which have never exhibited. My second goal has been to have an African American artist or artists for February. I have done the scheduling, press releases, fliers, finding new artists, etc., from my home. I think my presence in the art world has afforded me the opportunity to be asked to serve as judge for the 2016 Fund for Arts, as a panelist for Metro arts grants, etc.”

“I think that over the years, the community sees who is where and what you are doing. Action speaks louder then words.”

Recognitions/Awards:  Louisville Defender – Lifetime Community Service Recognition Award (2016) Outstanding Community Leader by Metro Council (2016)  Kentucky Museum of Art and Craft’s First Art and Advocacy Award – Bourbon Bash (2015)  Parkland Rising Up Project (2015)  Community Spirit Award given by the University of Louisville College of Arts and Science and the Yearlings Club (2015)  Spalding University Caritas Medal (2011) - the highest honor awarded to an alumnus 

Written by Keith Waits. In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

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