Amanda Jacobsen really impressed me with this one.
It will impress you too.
Hopefully enough for you to hire her to make something for you, or for you to give her money to make something for herself.
Happy Birthday Talya and happy Friday to everyone else.
It’s hot as shit outside.
Go fall asleep under a tree somewhere.
Monthly Archives: May 2010
An Interview with Erin Markey about her show “Puppy Love: A Stripper’s Tail”
Both of us here at minorprogression went to see Erin Markey’s one woman extravaganza “Puppy Love: A Stripper’s Tail” last night at PS122 and we’re still gushing about it. Erin has been on our radar since catching the early stages of “Puppy Love” when it was part of “The Sex Workers Art Show” in San Francisco a few years ago. Even in its early stages we knew that Erin’s work was something special and we’ve been looking forward to viewing her work in its entirety since then. As a performer Erin is a dizzying spectacle. She is at once ferocious and friendly, sexually appealing and frightening, old and young, the list goes on and on. Through all of these transformations and multiple personalities that Markey takes on, the thing that makes her work so endlessly engaging is her unbelievable talent, intelligence and range as a performer.
In hearing about the her show’s newest incarnation at PS122 we shot Erin an email asking her if she would do an interview, to which she responded positively. We saw the show last night, emailed her the interview that we put together after her performance and got a beautiful response back from her today. We’re both amazed and grateful for her amazingly quick response and we are seriously honored here at minorprogression to bring this exclusive interview to our readers.
American Woman: Fashioning a National Identity, Now Stay Away From Me?
Yesterday I went with my friend to see American Woman: Fashioning a National Identity at the Metropolitan Museum of Art. It’s the first Costume Institute exhibition drawn from the newly established Brooklyn Museum Costume Collection at the Met. It explores developing perceptions of the modern American woman from 1890 to 1940 and how they have affected the way American women are seen today. Focusing on archetypes of American femininity through dress, the exhibition reveals how the American woman initiated style revolutions that mirrored her social, political, and sexual emancipation. “Gibson Girls,” “Bohemians,” and “Screen Sirens,” among others, helped lay the foundation for today’s American woman.
The actual exhibits were extraordinary and my friend and I walked through the decades spellbound by the way in which American Woman have transformed themselves while emancipating themselves from Puritanical silence to Diva’s owning the silver screen. However, the closing of the show left an awful taste in my mouth. The show culminates in a round room surrounded by screens projecting images of women who have enhanced the national the consciousness over the past 80 years or so. Meanwhile, while everyone is oooing and ahhhhhing over their favorite diva Lenny Kravitz’s adapation of the song “American Woman” is playing. If you actually pay attention to what Lenny Kravitz says beyond the chorus you’d know someone at the Met really dropped the ball on this one!
Here are the lyrics to the song “American Woman” by Lenny Kravitz in their entirety. I’ll spare you a link to the actual “music”.
really feelin’ this video
RePost: A Letter from the Zeitgeist Movement!!!!
IN RESPONSE TO THE OIL SPILL IN THE GULF OF MEXICO
-FOR IMMEDIATE RELEASE-
(Venus, Florida- May 12rd, 2010) On the Gulf Coast of the United States the
shock is now setting in for millions of American citizens as we now realize
the true extent of the damage caused by our desire for obsolete and
dangerous fossil fuels, and our perpetuation of an outdated monetary world
society, where the bottom line has always been profit at all costs, be it
human or environmental. It is time for a viable solution to deal with a
system hardwired for self destruction.
It is with that very unfortunate introduction that we, The Zeitgeist
Movement, now must enter the international conversation to express the need
for true change. That word is not some jingoist slogan devised by a focus
group, but the evident desire of the public for a meaningful transition out
of the destructive legacy, the burden of our past mistakes as a maturing
civilization. We only have one Earth; there is no reset button here.
We must break out of our established ideologies that have prevented
progress. Ending the political duality, economic stratification and false
divisions is key to overcoming our apparent historical bondage that says
the future we were promised must remain an elusive dream. We must now
rethink our society and outgrow those parts of it that serve to paralyze
us.
As of Friday, April 30th it was reported by CBS News (US) that the spill
had spread to cover 2,100 square miles and was still spilling at a rate up
to 5,000 barrels (210,000 gallons) a day. As of today, there has been no
progress in stopping this catastrophe. This did not have to happen. It
happened because we continue to use an obsolete technology for the sake of
maintaining a profitable establishment. An establishment that perpetuates
vast inequality in its wages to its employees versus its core owners,
destroys fragile and vital eco-systems, and pollutes our air.
It is time for real change, not empty promises. No amount of socialism or
free market ideology will save us from ourselves, there needs to be a
fundamental re-write of what we think we know, to achieve a sustainable
human enterprise.
Our generation has stood and watched as our planet has been raped and
pillaged, yet we do nothing. Our generation has stood and watched as our
government bailed out the very people who created this economic crisis, yet
we do nothing. Our generation has stood and watched as our rights have been
stripped away from us, and yet we do nothing. Our generation has stood and
watched as we have been handed the problems of the countless generations
before it, and we are preparing to do the same to the next generation, and
we do nothing.
Let us be the first generation to hand solutions to our children and our
children’s children. But we can’t do it alone. Let us break down the
barriers we have created amongst ourselves. We need all of you, every last
one, to say enough is enough in one voice. Not as Americans or Russians,
Christians or Muslims, but as fathers, mothers, brothers and sisters. Let
us destroy the lines between us and work to create a world where our
children are truly safe and free. Let us create a world where we can tell
our children that they can be and do whatever their heart desires, and know
deep inside us we are telling them the truth. Let our generation be the
one.
We have the tools, we have the knowledge, we have the technology. It is
time we make the transition to a world, an economy, and a future we all
deserve regardless of geographic location or economic disposition. As long
as we rely on legacy systems defined in a 19th century mentality all we
will do is spin our wheels while a parade of economic and ecologic
disasters visits us again and again. It is time to pull the plug on this
charade because as you will find out, there is a better way.
We, the Zeitgeist Movement representatives, reach out to you so that we can
all work together to do what must be done. Every man, woman and child has a
voice, but together we can create one voice so deafening that no one will
have a choice but to listen. But it requires you. It requires you put away
preconceived notions you have been told about “the way things are” as
if it is the only way, because it’s not! Our way of thinking will no longer
sustain us. We can either remain in the house of cards we have built and
watch it collapse all around us, or we can, through the best our society
has to offer, begin to construct a stable mature and thriving society so
that the Gulf Coast Oil Spill, the Exxon Valdez and many others are nothing
more then an embarrassing footnote in history.
The choice is yours.
www.thezeitgeistmovement.com
In debt to Creditors: Strindberg at BAM
The last chance is upon you, fellow New Yorkers, to see the Donmar Warehouse’s nearly pitch perfect revival of Strindberg’s “Creditors” now playing at the Brooklyn Academy of Music until May 16th. Stephen, MY FRIEND LUKE! and I took in a performance last week and are still talking about it. This is probably Strindberg’s most famous naturalistic play besides Miss Julie and he referred to it himself as his “most mature work.” Though I don’t know if I agree with that per say, the play does read as contemporary, streamlined and vicious.
The new translation by David Greig hits all of the right notes, sounding fresh but avoiding the pitfalls of translations that think obsessive swearing or dumbing down of language are the ways to reach a modern audience.
Alan Rickman (who has done much more than star in the Harry Potter films for all of you who were unaware) directs this production with a deft hand, demonstrating a strong understanding of the source material and a keen knowledge of what it takes to physicalize conversations in order to keep them moving and immediate. Though at times I noticed some movement anticipated itself a bit too much to feel truly spontaneous, the cast of three were so strong that those few moments easily took a back seat in my mind. The set and costume designs were both flawless, feeling equally contemporary and timeless. Washes of grey, black and white, painted a stark unflinching picture, perfectly mirroring the confrontations and exposed secrets of the characters inhabiting this world.
Though Stephen and I enjoyed the production very much, there were two key issues that we found troubling. One relates back to the text itself and the other is purely a problem of this current production.
Our textual issue has to do with a device that was very common in the naturalistic works being written at the time (1889) that Creditors premiered. It mainly has to do with a character physically embodying an emotional state as a sort of theatrical device. Without giving too much away, let’s just say that a set of crutches and a violent, ambiguous physical breakdown are the two occurrences that seem to make the audience most aware of the time that this play was written in. This would probably be more forgivable if they were hidden in the middle but unfortunately these events bookend the action making it hard to shrug them off.
The problem that relates directly to this production has to do with the casting of Anna Chancellor in the role of Tekla. While Mrs Chancellor is undoubtably a talented and informed actress who makes consistent and strong choices throughout the course of the evening, Sebastian and I both felt that Tekla’s sexual energy, an extremely important key to both male characters obsessions with her, is sadly missing. We just didn’t buy Chancellor as a dangerously sexual woman. When she opened her skirt to her husband and slapped her own ass the audience seemed to regard it with a shrug rather than an adjustment to their trousers. All of the press seem to be hailing Chancellor’s performance as precise and revelatory but this only confuses me further. Critics have focussed on how three dimensional Tekla seems in this production, and while it is clear that she has much more going on for her than her sexuality, this is no excuse for its near nonexistence.
Tekla is indeed a complex woman, she is split between her physical and mental needs. We as audience members should be split on these issues as well instead of only being able to see half of them. It should be noted that this is an issue of miscasting and direction and not a soul fault of Chancellor’s. All theater is collaborative and subjective, so I realize that this complaint may not find common ground in other’s opinions. This is also not to say that it in any way ruins what is a great night at the theater, however, this is the main complaint I’ve been mulling over in my head for the past few days.
Creditors is a smartly mounted, contemporary interpretation of a classic work. It is rare that we get to see Strindberg staged with such clear vision or power. The play feels often as if it could have been written any time within the past hundred or so years and moves with such a swiftness (90 minutes, no intermission) that anyones quibbles will be quickly put to rest. If we were drawn closer to the intensity of Tekla’s sexual prowess, this production would be perfect. See it regardless.
“The Rainbow Connection: Richard Hunt, Gay Muppeteer” by Jessica Max Stein
Growing up in the republican suburbs during the 80′s tried to teach me to fear AID’s and any non-normative (whatever that means) expression of love. Unfortunately the fear around AID’s was based on the death of almost an entire generation of individuals that could have been spared had the government and those with power acted swiftly. Many of the individuals that passed due to AID’s related causes left in their wake testimonies of their strength and courage. A few of artists that have often inspired me are Jerome Caja, Arthur Russel, and Robert Mapplethorpe.. But there were many:
In Jessica Max Stein’s zine “The Rainbow Connection: Richard Hunt, Gay Muppeteer” she tells the story of Richard Hunt and his work with Jim Henson.
Talk Show: An Evening with Ugly Duckling Presse @ The Kitchen
Have you noticed??? Everyone is breaking out of their cocoons and transforming into social butterflies. Just when you forget how much skin is on everybody’s bodies, Spring starts to morph into summer, proving the perfect time to release a book entitled Ten Walks/Two Talks. Ten Walks/Two Talks is a new book published by Brooklyn’s Ugly Duckling Press and written by Andy Fitch and Jon Cotner. The book explores ten walks and two talks that the authors had in New York City. Sound exciting?
As part of the release, Ugly Duckling Press presented “Talk Show,” an evening of interviews, poetry, and unscripted surprises in the format of a late-night talk show. Fitch and Cotner, hosted the evening, sometimes even succeding to be witty with poets Dodie Bellamy, Rachel Levitsky, Matthew Rohrer, Marina Temkina, Cecilia Vicuña, and interview-artist Alex Stein as their guests.
Rachel Levitsky and her pal Barb (a commercial fisherman from Alaska – can we slap 10,000 bad ass points on her shoulder??) were a bold highlight of the evening, weaving their texts over each others words and lulling the audience into submission.
Maybe I’m biased but my favorite writer of the evening was Dodie Bellamy reading from Barf Manifesto. She wore black tiger striped tights, and a full black outfit. She had this sleazy nerdy librarian vibe which felt right up against her bathroom inspired meta text that joyously fucked with and scattered all genre’s, bringing attention to the imposibilities of life’s compartamentalizing.
I saw Andy Fitch and Jon Cotner “perform” their Ten Walks/Two Talks in San Francisco last month at Books and Bookshelves and to be frank, I have my criticisms…. their demeanor is overtly smug, knowingly pretentious and they try so hard to be clever that it comes across as a gimmick. In the beginning of the night they talked about “making sense”… I don’t know about y’all but I’m with the Talking Heads on this one… The whole idea of their work seemed too forced and too specific. New York is one of the best walking cities in the world. You can go through neighborhoods and mini worlds all within a matter of blocks. You could walk 1000 walks and still find things to interest you here, so why a semi guided, psuedo whimsical, forcibly precious walk on page is necessary is beyond me. Find a friend of yours who’s sense of humor is consistent and take a walk with them. It’s summer time and everyone is naked. Steal food from Whole Foods instead of recounting forgotten conversations there, then take your stolen goods and picnic in the park. Fuck, even write something about it, jus elevate it beyond you’re own insular smirk.
Video Clips from Movement Research at the Judson Church, 4.26.2010
Video clips from Movement Research at the Judson Church, April 26, 2010.
Featuring works by Daniel Clifton, Talya Epstein with JT Ross, and Kelly Bond.
trying out some things i have been interested in
Choreographed and preformed by Daniel Clifton
Music by Franz Schubert and Daniel Clifton
Words by Daniel Clifton
Daniel Clifton is from Niceville, FL where he spent many years writing music and playing in bands. He works or has worked with Tere O’Connor, Martha Clarke, Nicholas Leichter, Julia Ritter, Tony Jones, Tunga, Pam Ann, and the New York Historical Society. He has taught at the ADF, Hollins University, KDF, NYU, Sarah Lawrence College, and UNCSA. Clifton earned his MFA in Dance from Hollins University/ADF and his BFA in Dance from Florida State University. For more info check out http://www.danielclifton.org
In Syndication
Created and performed by Talya Epstein and JT Ross
Talya Epstein and JT Ross met at The Boston Conservatory in 2004. Talya was studying dance and JT was studying theater; Talya still wore hippie skirts and JT still sang showtunes. JT introduced Talya to spicy food and music that isn’t played on the radio. Talya introduced JT to trees and plain-spoken honesty. They used to share a bed, but that hasn’t happened for a while…and won’t…ever again. Though they both approach making work differently, they have similar artistic values and thus decided to create something together. What you will see tonight is the beginning of their first collaboration. JT is an aspiring theatrical director and writes for us at minorprogression.com as broken brooklyn. Talya is currently dancing with Melinda Ring/Special Projects.
Untitled work-in-progress (formerly Past science-fiction/Future autobiography)
Choreographed by Kelly Bond
Performed by Kelly Bond, Lillian Cho, Melissa Krodman, and Carrie Monger
Originally from Mississippi, Kelly Bond is a DC-based choreographer and performing artist. Her most recent work includes the currently untitled work-in-progress, which will premiere in this summer’s Capital Fringe Festival, and her solo work, Splitting the Difference (2009). In 2009, Kelly co-curated the In-Presentable Festival in Madrid with the other members of 6MONTHS1LOCATION-an artistic, educational, and social experiment which incorporated the program ex.e.r.ce 08 and took place at the Centre Chorégraphique National de Montpellier in 2008. She holds an MA in European dance-theatre practice from Laban in London which she attended as a Jack Kent Cooke Graduate Scholar. She also has a BFA in dance performance and choreography and a BA in English from the University of Southern Mississippi. Kelly was a 2009 Young Emerging Artist of the DC Commission on the Arts & Humanities and is currently an artist with the Dance/Metro DC pilot program, Forward Five.
