Presentation with Pomegranate Arts, Is the Last Time Taylor Mac Will Perform the Full 24-Hour Work in the U.S
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César Alvarez Pronouns: They/Them [email protected]
César Alvarez pronouns: they/them [email protected] Representation: Rachel Viola [email protected] United Talent Agency !!! "eventh Ave. #th $loor %e& Yor() %Y *+*+, T: -*-..++./--0 EDUCATION -++1 2ard College, M$A Music/"ound -++/ 45erlin Conservatory) B3 Sa6ophone, Electronic) and Interdisciplinary Performance -++* Universidad de La Ha5ana) Cu5a) School for International Training) semester o: study *111 8nterlochen Arts Academy) High School Diploma w/ Honors AWARDS AND HONORS -+-+ Ne& Musical commissioned by Play&right's Horizons -+-+ Hermitage Fello& -+*8 Princeton Arts Fello& -+*! "undance Institute/Ucross Composer & Play&right Fello&ship -+*, ;ucille Lortel A&ard - Outstanding Musical - FUTURITY -+*, The American Theater Wing's Jonathan Larson A&ard -+*, Of-2road&ay Alliance A&ard - Best New Musical - FUTURITY -+*. Drama Des( Nomination – Outstanding Music in a Play - An Octoroon -+*0 7nsem5le Studio Theatre/"loan Commission - The Elementary Spacetime Show -+*/ =rama Des( Nomination – Outstanding Music in a Play - Good Person of Szechwan -+*- %7A Art Works Grant for FUTURITY at Soho Rep -+** %7A Art Works Grant for FUTURITY at American Repertory Theater -++4 Van Lier/3eet the Composer Fello& -++2 Composer at 9th Issue International Electro@Acoustic Music festival. Havana) Cu5a *111 <ispanic National Merit Scholar ONGOING PROJECTS -+*8 – Present The Potl c! – Music) Boo( and Lyrics. Commissioned by Barbara Whitman and Beth Ailliams -+*, - Present "OISE # Music) Boo( and Lyrics. Commissioned by The Pu5lic Theater and N'U/9lay&rights Horizons Theater School. Larson Legacy Concert at Adelphi University) Vineyard Arts ProFect. Upcoming: Workshop direc ed !" Sarah Benson% J&'" ()() -+*4 - Present The Elementary Spacetime Show D Music and Lyrics by César Alvarez. Boo( by César Alvarez and Emily Orling Directed 5y Sarah Benson. -
View the Program Book for How I Got Over
A conversation with Judith Casselberry, Charrise Barron, Mellonee Burnim, Joyce Marie Jackson, Randal Jacobs, and Matthew D. Morrison Performances by Marcelle Davies-Lashley, Jhetti, and Samuel Guillaume Sunday, December 10, 2017 3:00 p.m. Apollo Theater Front Cover: Mahalia Jackson; March on Washington for Jobs and Freedom 1957 LIVE WIRE: HOW I GOT OVER - THE SPIRIT OF GOSPEL MUSIC In 1963, when Mahalia Jackson sang “How I Got Over” before 250,000 protesters at the March on Washington for Jobs and Freedom, she epitomized the sound and sentiment of Black Americans one hundred years after Emancipation. To sing of looking back to see “how I got over,” while protesting racial violence and social, civic, economic, and political oppression, both celebrated victories won and allowed all to envision current struggles in the past tense. Gospel is the good news. Look how far God has brought us. Look at where God will take us. On its face, the gospel song composed by Clara Ward in 1951, spoke to personal trials and tribulations overcome by the power of Jesus Christ. Black gospel music, however, has always occupied a space between the push to individualistic Christian salvation and community liberation in the context of an unjust society— a declaration of faith by the communal “I”. From its incubation at the turn of the 20th century to its emergence as a genre in the 1930s, gospel was the sound of Black people on the move. People with purpose, vision, and a spirit of experimentation— clear on what they left behind, unsure of what lay ahead. -
Toshi Reagon & Biglovely
Toshi Reagon & BIGLovely “Whether playing solo or with her band, [Toshi’s] fusion of styles and forms draws listeners in, embraces them and sets them off in a rapturous, hand-raising, foot-stomping delight.” -RighteousBabe.com About Toshi Reagon and BIGLovely Toshi Reagon is a versatile singer-songwriter-guitarist, drawing on the traditions of uniquely American music: rock, blues, R&B, country, folk, spirituals and funk. Born in Atlanta and raised in Washington DC, she comes from a musical—and political—family. Both her parents were civil rights activists in the 1960s, and founding members of The Freedom Singers, a folk group that toured the country to teach people about civil rights through song as part of the Student Nonviolent Coordinating Committee. Her mother, Bernice Johnson Reagon, is also a founder of the legendary a cappella group, Sweet Honey in the Rock. Toshi has been performing since she was 17 years old. Her career really launched when Lenny Kravitz chose her, straight out of college, to open for him on his first world tour. Some of Toshi’s proudest moments include playing for her godfather Pete Seeger’s 90th birthday celebration at Madison Square Garden, and performing with the Freedom Singers at the White House, in a tribute to the music of the civil rights movement. As a composer and producer, Toshi has created original scores for dance works, collaborated on two contemporary operas, served as producer on multiple albums, and has had her own work featured in films and TV soundtracks, including HBO and PBS programs. BIGLovely did its first performance as a band in 1996. -
Graduate Student Advocate, December 1993, Vol. 5, No. 6
City University of New York (CUNY) CUNY Academic Works The Advocate Archives and Special Collections 12-1993 Graduate Student Advocate, December 1993, Vol. 5, No. 6 How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_advocate/50 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE CITY UNIVERSITY OF NEW GRADUATE STUDENT Volume 5, No. 6 December 1993 Free ~~g~?!~~d Student Support for Yomi Falters and Christina Pretto his GRE score was substandard, and told him to get OF THE ADVOCATE STAFF a second master's degree in economics. After Yomi receiv~d a ma_ster's degree from City College, While several student groups have rallied behind Grossman adrmtted him to the program. Michael Yomi, a second level economics student Grossman h.as denied Yomi' s charges of racism in who has refused to take the department's first exam the department, and said that once Yomi was admit on grounds of_racial bias, their momentum appears ted to the program, he was "treated like any other to have lost steam as Yomi has yet to offer a solution student." to the administration. Many groups at the graduate center have rallied .Over the summer, Yorn) was notified that he was to Yomi's support. As early as September,the Doc bemg terminated from the program because he had toral Studen~ Counc~l, while citing no specific ex not t~ken the fir~t exam. -
Lizz Wright TOTAL DEVOTION the ACCLAIMED SINGER-SONGWRITER DISCUSSES HER ROOTS in GOSPEL MUSIC, HER LOVE of JAZZ and HER TRANSCENDENT NEW ALBUM
Lizz Wright TOTAL DEVOTION THE ACCLAIMED SINGER-SONGWRITER DISCUSSES HER ROOTS IN GOSPEL MUSIC, HER LOVE OF JAZZ AND HER TRANSCENDENT NEW ALBUM BY ALLEN MORRISON • PHOTOS BY JIMMY & DENA KATZ Lizz Wright at The Jazz Gallery in New York City, Oct. 8 singer,’” Wright explained. “I’ve always got n late February 2015, about a week before that Southern gospel-blues root thing on singer-songwriter Lizz Wright went into the it—I can’t get that off! It’s like a good kind of dirt, you know? Not a nasty dirt—a good studio to record her fifth album,Freedom kind in which you can grow stuff. I “I think, musically and personally, I & Surrender (Concord), her Volvo station stand right in the middle of America,” she reflected. “I know there are pieces of coun- wagon skidded across 300 yards of black ice on a try, folk, jazz, gospel, soul music and blues mountain curve near her North Carolina home, in what I do, but these styles don’t feel sepa- rate to me. They look like the collage of peo- and headed toward a 75-foot ravine. ple in my life who have taught me, loved, protected and influenced me.” On the Wright described this harrowing, “near- songs that demonstrate a new maturity and a downside, she added, “If you’re this eclec- death experience” in a recently published essay: hard-won sense of balance between the secular tic, you can be made to feel a bit homeless.” I softened my body and rested my hands in and the sacred. -
Building Multi-Racial Coalitions Through Women’S Culture the Roadwork Oral History and Documentary Project
ORAL HISTORY AND DOCUMENTARY PROJECT BUILDING MULTI-RACIAL COALITIONS THROUGH WOMEN’S CULTURE THE ROADWORK ORAL HISTORY AND DOCUMENTARY PROJECT IF YOU FEEL SOMETHING MISSING, IT IS PROBABLY THE SOUND OF YOUR OWN VOICE. The roots of contemporary social justice movements in the United States are deeply intertwined. THE ROADWORK ORAL HISTORY AND DOCUMENTARY PROJECT illuminates and documents these roots by telling the story of a multi- racial, cultural-political collaboration among musicians, artists, poets and organizers that existed from the late 1970s to the 1990s. Roadwork was a unique cultural organization founded by women with extensive leadership experience in black civil rights, progressive, women’s, global justice, anti-war, and lesbian-feminist movements. It was led by women of color, and aimed at nothing less than the transformation of consciousness and the creation of a global social justice movement. Founded in 1978 by Bernice Johnson Reagon and Amy Musical Retreat, and Roadwork’s own Sisterfire festival). Horowitz, Roadwork was created to “put women’s culture Independent producers and distributors built alternative on the road” through tours, festivals, concerts and leader- economic models that challenged the mainstream music ship. ROADWORK was born in a context of profound business. sexism. Misogyny in music and entertainment industries ROADWORK emerged at a time when the US was severely limited women promoters, recording engineers engaged in widespread covert intelligence operations and independent artists. Despite these obstacles, an both domestically (against civil rights and anti-war move- underground women’s culture (poets, visual artists, film- ments) and globally (in places like El Salvador, Nicara- makers and musicians) flourishedin the 1970s- 90s, finding gua, Honduras, Chile and the middle east). -
Programmheft Taylor Mac – a 24-Decade History of Popular Music
HAUS DER BERLINER FESTSPIELE — HAUS DER BERLINER FESTSPIELE Berliner Festspiele — HAUS DER#immersion BERLINER FESTSPIELE — HAUS DER BERLINER IMMERSION – PERFORMING ARTS 6 10. – 20.10.19 Europapremiere / European premiere A 24-Decade History of Popular Music I work in catharsis. That’s my job. Taylor Mac INHALT / CONTENTS 2 DAS KOSTBARE VOR- GEFÜHL EINER ANDEREN GEMEINSCHAFT / THE RARE P RESENTIMENT OF A DIFFERENT COMMUNITY Thomas Oberender 4 Chapter 1 1776–1836 10.10.19, 18:00–00:00 6 Chapter 2 1836–1896 12.10.19, 18:00–00:00 8 Chapter 3 1896–1956 18.10.19, 18:00–00:00 10 Chapter 4 1956–2019 20.10.19, 18:00–00:00 12 LASST UNS DIE QUEER- NESS UNSERER GE- SCHICHTE ENTDECKEN! / 22 LET’S UNEARTH THE QUEERNESS IN OUR HISTORY! Interview Taylor Mac & Dennis Pohl 30 KÜNSTLER*INNEN UND MITWIRKENDE / ARTISTS AND PERFORMERS 34 Biographien / biographies 40 Impressum / imprint 1 Das kostbare Vorgefühl einer anderen Gemeinschaft / The Rare Presentiment of a Different Community 24 Stunden, 24 Dekaden, 246 Songs. Aus der Perspek- 24 hours, 24 decades, 246 songs. Using newly tive einer Queer History erzählt Taylor Mac die arranged songs that have been popular in America Geschichte der Vereinigten Staaten anhand neu from 1776 to the present day, Taylor Mac tells the arrangierter Songs, die von 1776 bis heute in story of the United States from the perspective Amerika populär waren. „A 24-Decade History of of a queer history. “A 24-Decade History of Popular Popular Music“ thematisiert und befragt histori- Music” focuses on and queries historical events sche Ereignisse wie die Amerikanische Revolution such as the American Revolution and the Prohib- und die Prohibitionszeit, ebenso wie die AIDS- ition Period, as well as the AIDS crisis and the every- Krise oder den Alltag einer Hausfrau des 18. -
Island Girl in a Rock-And-Roll World an Interview with June Millington by Theo Gonzalves and Gayle Wald
1 2 GAYLE WALD AND THEO GONZALVES 1 2 George Washington University, National Museum of American History - Smithsonian Institution Email: [email protected] Island Girl in a Rock-and-Roll World An Interview with June Millington by Theo Gonzalves and Gayle Wald EDITED AND ANNOTATED BY GAYLE WALD The following text collects edited excerpts from a 30 July 2018 interview with musician June Millington (b. 1948, Manila, the Philippines) conducted by Theo Gonzalves, curator in the Division of Culture and the Arts at the National Museum of American History, and Gayle Wald, Professor of English and American Studies at George Washington Uni- versity. The interview was conducted at the Institute for the Musical Arts, a Goshen, Massachusetts-based non-profit founded and operated by Millington and her partner, Ann Hackler. The text is based on a transcription by Gracia Brown. This version, which is condensed, edited for clarity, and annotated, was prepared by Gayle Wald. June Millington is co-founder and lead guitarist of the germinal rock-and-roll band Fanny, which formed in Los Angeles in 1969. The other original members of the band were Jean Millington (June’s sister, on bass guitar and drums), Alice de Buhr (drums and vocals), and Nickey Barclay (keyboards and vocals). Fanny recorded four albums with Reprise Records—Fanny (1970), Charity Ball (1971), Fanny Hill (1972), and Mother’s Pride (1973)—and toured widely in the U.S. and internationally. As Ann Powers has recently observed, Fanny, as fronted by June Millington, “was a showcase for the swag- ger of long-haired, bell-bottomed, fierce femmes at the dawn of the women’s liberation 1 movement.” Since the band’s 1973 dissolution, Millington has had a distinguished career working with a wide variety of artists, most notably Cris Williamson, on whose influential 1975 album The Changer and the Changed Millington contributed keyboards, guitar, and vocals. -
Cap Ucla Presents Taylor Mac's Holiday Sauce
FOR IMMEDIATE RELEASE CAP UCLA PRESENTS TAYLOR MAC’S HOLIDAY SAUCE…PANDEMIC! CREATED BY MAC AND POMEGRANATE ARTS DECEMBER 12 COVID-Era Virtual Reinvention of the Beloved Annual Live Seasonal Variety Show Follows November 13 Release of Holiday Sauce Album On December 12, UCLA’s Center for the Art of Performance (CAP UCLA) and prestigious theaters and cultural institutions around the world present the Pomegranate Arts production Taylor Mac’s Holiday Sauce…Pandemic! The special, live-streamed event reimagines for this time of social distancing Mac’s celebrated Holiday Sauce show. Holiday Sauce…Pandemic! is presented at 7 p.m. PST on December 12. The event requires a minimum donation of $25 to CAP UCLA to register. Mac dedicates Holiday Sauce to Mother Flawless Sabrina, Mac’s drag mother, who passed away three weeks before the live show made its world premiere at Town Hall NYC in December 2017. Conceived as a virtual vaudeville, Holiday Sauce…Pandemic! blends music, film, burlesque, and random acts of fabulousness. To create it, Mac has joined forces with longtime creative producer Pomegranate Arts (Linda Brumbach, Founder and Director; Alisa E. Regas, Managing Director, Creative), director Jeremy Lydic, designers Machine Dazzle and Anastasia Durasova, and cinematographer Rob Kolodny. It features a full band led music director/arranger Matt Ray and including Colin Brooks, Viva DeConcini, Antoine Drye, Greg Glassman, J. Walter Hawkes, Marika Hughes, Dana Lyn, and Gary Wang; special guests Thornetta Davis, Stephanie Christi’an, and Tigger! Ferguson; and performers who make cameo appearances: Dusty Childers, Sister Rosemary Chicken, sidhe degreene, Romeo-Jay Jacinto, Glenn Marla, Travis Santell Rowland (Qween), and Timothy White Eagle. -
Sweet Honey in the Rock by Carla Williams
Sweet Honey in the Rock by Carla Williams Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com "An ensemble of Black women singers" is how Sweet Honey in the Rock defines herself. A group of cultural and political activists, whose repertoire includes everything from Negro spirituals to civil rights movement freedom songs to a feminist anthem by lesbian folksinger Ferron ("Testimony," 1983) to their own original compositions, Sweet Honey has included in its roster, to date, some twenty-two women. Early on, founder Bernice Johnson Reagon realized that, because the group defined itself as professional but part-time, it was best to keep membership open, allowing members to go and come depending upon the demands of their lives. Born in 1973 in Washington, D.C., out of a vocal workshop led by Reagon, whose own roots were in the church and the Student Nonviolent Coordinating Committee Freedom Singers, Sweet Honey is currently composed of founding members Reagon and Carol Maillard, Nitanju Bolade Casel (joined 1985), Aisha Kahlil (joined 1981), Ysaye Maria Barnwell (joined 1979), and sign language interpreter Shirley Childress Saxton (joined 1980). Although an early member of Sweet Honey, Dianaruthe Wharton, played piano and the performers do use hand percussion instruments, Sweet Honey remains an a cappella vocal group. A Grammy-winning ensemble with an international following, Sweet Honey in the Rock incorporates spiritual, gospel, blues, jazz, folk, African, and rap musical styles to sing about the political as well as the personal. Sweet Honey in the Rock's enduring connection with the gay and lesbian community dates back to a 1977 California tour arranged by feminist activist Amy Horowitz. -
Winter/Spring Season
WINTER/SPRING SEASON Jan 23–24 eighth blackbird Hand Eye __________________________________________ Jan 28–30 Toshiki Okada/chelfitsch God Bless Baseball __________________________________________ Feb 4 and 6–7 Ingri Fiksdal, Ingvild Langgård & Signe Becker Cosmic Body __________________________________________ Feb 11–14 Faye Driscoll Thank You For Coming: Attendance __________________________________________ Feb 18–27 Tim Etchells/Forced Entertainment The Notebook, Speak Bitterness, and (In) Complete Works: Table Top Shakespeare __________________________________________ Mar 5–6 Joffrey Academy of Dance Winning Works __________________________________________ Mar 25–26 eighth blackbird featuring Will Oldham (Bonnie “Prince” Billy) Ghostlight __________________________________________ Mar 31–Apr 3 Blair Thomas & Co. Moby Dick __________________________________________ Apr 7–10 Teatrocinema Historia de Amor (Love Story) __________________________________________ Apr 12 and 14–16 Taylor Mac A 24-Decade History of Popular Music __________________________________________ Apr 28–May 1 Kyle Abraham/ Abraham.In.Motion When the Wolves Came In Museum of Contemporary Art Chicago Apr 12 and 14–16, 2016 FEATURING Vocals Taylor Mac ____________________________________________ A 24-Decade History WITH Music Director/Piano/ Matt Ray of Popular Music: Backup Vocals Bass Danton Boller Drums Bernice “Boom Boom” (1956–1986) Brooks ____________________________________________ Guitar Viva De Concini CONCEIVED, WRITTEN, PERFORMED, AND CODIRECTED BY Baritone -
Big Band Early Jazz New Orleans Jazz Brass Band R
21st C. 21st C. Elec- 21st C. 21st C. 21st C. 90s/ Jazz Rock tronica R&B Rap Sacred Music 2000s Jason Moran Brittany Howard DJ Spooky The Roots Frank Ocean Kendrick Lamar Aeolians of Oakwood Kamasi Washington Gary Clark, Jr. Carl Craig Beyoncé Usher Kanye West Tasha Cobbs Concert & Roy Hargrove Janelle Monae Flying Lotus Rihanna Solange Nicki Minaj Jonathan McReynolds 90s Gospel Joshua Redman Stew Alicia Keys Jay-Z Marvin Sapp Terri Lyne Carrington Tamar-kali 50 Cent Kierra Sheard Kirk Franklin Classical Afropunk Trey McLaughlin Donnie McClurkin Mary Mary Audra McDonald, Soprano Donald Lawrence Lawrence Brownlee, Tenor Sounds of Blackness Morris Robinson, Bass 80s/90s Rock Techno 90s R&B 90s Rap Yolanda Adams Janinah Burnett, Soprano Nicole Mitchell, Composer Bad Brains Living Colour Doug Pinnick Juan Atkins R. Kelly Maxwell De La Soul Nas Tania Leon, Composer Fishbone Chocolate Genius Toshi Reagon Derrick May Mariah Carey Mary J. Blige A Tribe Called Jay-Z George E. Lewis, Composer Lenny Kravitz Garland Jeffreys Kevin Saunderson MeShell Erykah Badu Quest The Notorious 80s Superstars Terence Blanchard, Composer Tracy Chapman Slash D. Wynn NdegéOcello Boyz II Men Ice Cube B.I..G. Nkeiru Okoye, Composer D’Angelo Dr. Dre Lil’ Kim Michael Jackson Prince Lionel Richie Courtney Bryan, Composer Snoop Doggy Missy Elliott Tina Turner Whitney Houston Imani Winds, Wind quintet Dogg Lauryn Hill Wu-Tang Clan Outkast 80s Jazz House 80s Rap 2Pac 80s R&B 80s 70s/80s Wynton Greg Osby Frankie Knuckles Sugar Hill Gang LL Cool J Public Enemy Stevie Wonder Marsalis Geri Allen Ron Hardy Grandmaster Flash MC Lyte N .W.