Archive for October, 2010

From the deep archives: BOGART IN SPACE (1984)

October 17, 2010

On the occasion of seeing Anne Bogart’s SITI Company at Dance Theater Workshop, it occurred to me to post on my writing archive the feature story I wrote about her when she directed a student production of Frank Wedekind’s Spring Awakening (with music by the rock-and-roll songwriters Jerry Leiber and Mike Stoller).

Among other things, she said, “Our generation doesn’t have anything to say because we’ve lost the ability to talk about things. I think I know why, too. It’s specifically political – it goes back to the McCarthy era, when artists were destroyed for being politically involved. We’ve been brought up thinking art and politics don’t mix, so what do we have to talk about? Ourselves.”

You can read the entire article online here.

“Our generation doesn’t have anything to say because we’ve lost the ability to talk about things. I think I know why, too. It’s specifically political – it goes back to the McCarthy era, when artists were destroyed for being politically involved. We’ve been brought up thinking art and politics don’t mix, so what do we have to talk about? Ourselves.

Playlist

October 17, 2010

I’ve just loaded up my iPod with a huge pile of new CD’s:

Caetano Veloso, zii e zie
Mary Chapin Carpenter, The Age of Miracles
Various Artists, All My Friends Are Here: Composed & Arranged by Arif Mardin
Loudon Wainwright III, 10 Songs for the New Depression
Judy Collins, Paradise
Ben Folds/Nick Hornby, Lonely Avenue
Punch Brothers, Antifogmatic (produced by Jon Brion)
Brad Mehldau, Highway Rider (also produced by Jon Brion)
Teddy Thompson, Bella
Lizz Wright, Fellowship
Lauren Kinhan, Avalon
Liza Minnelli, Confessions
Jimmy Webb, Suspending Disbelief
Peter Gabriel, Scratch My Back
Josh Ritter, So Runs the World Away
Vanessa Williams, The Real Thing
David Byrne and Fatboy Slim, Here Lies Love
Steve Reich, Double Sextet/2X5
Fela!
Original Cast Recording
Sondheim on Sondheim
OCR
Finian’s Rainbow 2010 OCR
Glee: The Music Volume 3: Showstoppers
Promises, Promises
2010 OCR
Bloody Bloody Andrew Jackson OCR

Photo diary: the week in review

October 17, 2010

Dave and George, fresh from the hot tub in the back yard

Alex, bartending at the Shoreham Hotel on a slow night

Franchia Teahouse on Park Avenue

Tom at the Hat aka El Sombrero

the men's room at El Sombrero

ancient infant on the Q train to Brooklyn

jack-o-lanterns on President Street

Sesame Street potty on Seventh Avenue

Quote of the day: COCKS

October 17, 2010

COCKS


Cocks come in a great range of shapes and sizes. One basic difference, which you rarely see discussed in any of our literature, is that between what are often called “blood cocks” and “meat cocks.” Blood cocks are quite small when flaccid and expand greatly as the corpora cavernosa fill with blood. Meat cocks remain relatively large even when flaccid and generally do no change length greatly when they become hard. Naturally there is a full range of variation between these two extremes. For an example of a meat cock look at any model in Honcho, Advocate Men, or even Drummer. Those equipped with blood cocks rarely want them photographed, and most publishers wouldn’t be interested anyway. For a good example of a blood cock look at Michelangelo’s David or nearly any other piece of Greek or Roman sculpture. I know of no studies done on this anatomical difference. From my own limited research I’d say that both types of cocks have the potential to be equally large when erect. But “meat” sure as hell has the advantage in basket making. Also it is virtually impossible for someone with a blood cock to have a cock ring, or any other form of cock & ball bondage, that will be compatible with both flaccid and erect stages. I think there is probably an ethnic basis to the type of cock, with bloods being predominant in the Mediterranean.

— Fledermaus, writing in Dungeon Master magazine

Theater review: WAR OF THE WORLDS/RADIO MACBETH

October 15, 2010

Last Saturday night I saw the SITI Company’s double-bill of Radio Macbeth and War of the Worlds — The Radio Play, directed by Anne Bogart, at Dance Theater Workshop. My review for CultureVulture.net is posted here. It says, in part:

“Who needs one more traditional production of “Macbeth”? Or who wants to see a version with a single conceptual idea that plays itself out tediously over the course of the evening? Whenever you think you know what Bogart and company are up to, they shift things slightly. The one constant is full attention to Shakespeare’s text, performed by highly skilled actors with excellent verbal and vocal skills. Without the traditional castle scenery and warrior jousting, I found myself hearing lines from the play that had never stood out before. Plotting the murder of Banquo, for instance, [Stephen Duff] Webber plays the speech that begins “We have scorch’d the snake, not kill’d it” with an intense mixture of blood-thirst and soul-sickness. And [Ellen] Lauren as Lady M (see photo above) is riveting throughout. If ultimately the production remains a somewhat academic exercise, I wasn’t bored, and I’m glad I saw it.”

Bogart was hanging out in the lobby before the show, and we exchanged warm greetings. I’ve been seeing her work for 30 years, the entire time I’ve been in New York, since back when we were kids. I’ve interviewed her for the New York Times and the Village Voice. I’ve seen a couple of dozen shows she’s directed (probably not even half of her complete work), from her legendary student productions of South Pacific and Spring Awakening at NYU, to Paula Vogel’s Baltimore Waltz, to her several Gertrude Stein pieces, and her portraits of artists (Robert Wilson, Andy Warhol, Robert Rauschenberg). I haven’t always loved every production, but I admire and respect her as an artist.