brooding ’bout stuff
Before I start tooting the horn of current songwriters—and shortly I will profile the thoughtful Dan Wriggins of Friendship—let me toot my own. Over the last six months my musical partner Rob Berg and I have released eighteen songs, ten of which never were issued before (unless you received a few as a homemade Christmas gift in 1987).
Continue reading “Bachelors In the Land of Nod”
This fifth in a series of portraits of Rudy Perez is akin to the third: an anatomy of a performance. For background on the dancer-choreographer Ruth St. Denis and her consort Ted Shawn, see Egyptian Deities and Jacob’s Pillow from Portrait of Rudy Perez 4. Continue reading “Portrait of Rudy Perez 5: Anatomy of a Performance 2”
I was annoyed Tuesday when the Biden-Harris tribute to the 400,000 fallen included that old, mm…, warhorse “Amazing Grace.” I muttered to my wife Andrea Carney, “Well, as long as they don’t trot out ‘Hallelujah’…,” which of course they did. “Amazing Grace” showed up time and again during the inaugural spectacle. Continue reading “The Old Normal”
— Rudy Perez
In talking with Rudy Perez about his career’s performances over the last nine months (see Part 1, Part 2, and Part 3), I noticed how many took place in art spaces. Of course, by the time I met Rudy in 1980, performances—dance and otherwise—were often hosted by galleries—large and small, for-profit and non. What follows are reminiscences of such productions during the years before I left Los Angeles for Denver in 2005, including bits from our conversations earlier this month. Continue reading “Portrait of Rudy Perez 4: Lingering in Spaces”
Most of our readers will know why I haven’t posted here for two months. In preparing for Portrait of Rudy Perez 2: Remain in Light in June, my musical partner Rob Berg and I dusted off music we hadn’t visited in decades. Continue reading “Bachelors Anonymous”
I remember seeing the band Future Islands on a late night show, except that I rarely watch network television. It must have been their “Seasons (Waiting On You)” from Letterman’s Late Show in 2014 before Colbert took over. I thought, “Joe Cocker lives.” And I swear I recall telling my wife Andrea about lead singer Sam Herring: “He looks like he’s about to pee his pants.” That was then. Continue reading “Islands Past: Future Islands’ “Thrill””
Yesterday my brother Richard remarked in our weekly transpacific Skype chat, that the cell phone camera has changed everything, from unmasked undistanced kids walking down a hallway in Georgia (I hadn’t yet seen it; he’s on Bangkok time) to gals getting their nails done getting zip-tied on the blacktop near my neighborhood. Continue reading “Everybody Dance Now 5: The People’s Panopticon”
This fourth edition of Everybody Dance Now involves travel in space and time, beginning with a short from Arizona filmmaker and photographer Harrison J. Bahe of Navajo Joe Films. “Xibalba” comes from the soundtrack of The Fountain (2006) composed by Clint Mansell, which also accompanies Bahe’s film. Xibalba is the Mayan underworld, which figures in The Fountain, a once-and-future picture that weaves together Mayan and Hebrew mythology, featuring a Spanish conquistador astoundingly being recognized by a native priest as the First Father, the life source. Continue reading “Everybody Dance Now 4: Time/Travel”
This is a second conversation with dancer-choreographer Rudy Perez, taking place last month on May 30. During our review of Part 1 Rudy raised a few topics that I wanted to pursue. And, of course, there had been the murder of George Floyd on Memorial Day, and the reactions from coast to coast.
What follows has been lightly edited for clarity. Many thanks to Susan Perry Miick for her help with photographs. Continue reading “Portrait of Rudy Perez 2: Remain in Light”
Comment by David Hughes: The present pandemic has inspired many performing artists: locked down, they are reinventing old works and coming up with new ones. A century ago in 1914, labor bard Joe Hill did the same from his own lockdown—a Salt Lake City jail—lifting lines from “The Internationale” and composing new ones like these from “Workers of the World, Awaken”:
If the workers take a notion,
They can stop all speeding trains;
Every ship upon the ocean
They can tie with mighty chains;
Every wheel in the creation,
Every mine and every mill,
Fleets and armies of the nation,
Will at their command stand still. Continue reading “For a Clinic Without Supervisors”