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Rosamund Pike Is Delighted to Appall You

“There are two kinds of people in this world,” says the cool, secure voice of Rosamund Pike, who plays Marla Grayson, in the opening voice of “I Care a Lot,” as the camera slowly pans over the dazed-looking residents of a nursing home . “The people who take and those who are taken.”

The first shot of Marla’s razor-sharp blonde bob shows which category she belongs to. As a ruthlessly amoral and icy self-confident cheater, she perfectly plays the role of a conscientious, court-appointed guardian, while she cleverly separates the older wards she oversees from her families and bank accounts.

Pike, the British actress best known for her Oscar-nominated appearance on Gone Girl, starred in I Care a Lot, written and directed by J. Blakeson, which arrives on Netflix Friday. Pike has already received a Golden Globe nomination for the role in which she is both hideously vicious and seductively fearless, a true antihero who gleefully does very bad things.

“Marla is like a shabby street fighter in designer clothes,” said Pike in a recent video interview from Prague. “It was a deep dive into finding a place where I could have the hunger for money, the hunger for victory, and the belief that your goal is more important than anything else.”

All of them are qualities “women don’t often portray in film,” she added.

Pike, 42, is disarmingly beautiful with flawless peach-cream skin and straight blonde hair. Articulate and thoughtful during the interview, she considered the questions carefully and occasionally went off the slopes: “I wish I could ask you a few questions,” she said at one point.

Early in the limelight as the Bond girl on Die Another Day at age 21, Pike has had a successful acting career for more than two decades, but she has never achieved the mega-fame of some of her peers, or apparently aspired to them.

Perhaps that’s because, while Pike has successfully specialized in playing the English rose (see Jane Bennett in Joe Wright’s “Pride and Prejudice” from 2005), he has never been pigeonholed by prettiness. She faked the British spy film in “Johnny English Reborn,” starred alongside Tom Cruise in the action thriller “Jack Reacher,” and starred an incredibly unsuspecting personality in “An Education,” the die-hard reporter Marie Colvin in “A Private.” “And the enigmatic Amy from” Gone Girl “.

“I think she is bypassed a bit sometimes because she rarely gets conspicuous in her roles,” said Blakeson. “I get confused that she didn’t win the Oscar for ‘Gone Girl’.”

Blakeson added that he had wanted to work with Pike for a long time. “It’s different in every part; You never know what you’re going to get, ”he said. “I Care a Lot, in which you play a character who couldn’t be more dissimilar to you as a person, is a reminder of how good she is.”

Pike grew up in London, the only child of two opera singers who spent a lot of time traveling from job to job. She said she knew she would become an actress from around the age of 4. “You wake up in a creative household and you assimilate that,” she said. “For me, adults were people who could play convincingly and tell stories. I sat in rehearsals for operas for hours and found out why I believed things or why I didn’t. I found some kind of magic in the theater; It felt like a good place that I belonged. “

She didn’t do much about it, she said until she was 16 when she saw a flyer at her school for the National Youth Theater, a British institution that has built a reputation for actors like Daniel Craig, Colin Firth and Helen Mirren to produce. Pike auditioned, was accepted, and spent the next two years performing with the group. After all, he played the heroine in “Romeo and Juliet”.

Her performance as Julia won Pike as an agent (who she is still with), a fact that kept her quiet when she went to Oxford University. “I would secretly go to London to audition for things that most of the time I wouldn’t get and ask myself, ‘Will he give up on me?'” She said. Pike also played at the university – “a hotbed of opportunity for failure,” she said dryly.

After graduation, she traveled for a while and returned in time to audition for the Bond film. “I was really shaggy in a cardigan and old jeans,” she said. “I couldn’t have been less appropriate, but luckily they could see beyond that.” But even though she received praise for her role in the film – her first film role – Pike said she opened few doors.

She returned to stage work and appeared in Terry Johnson’s “Hitchcock Blonde” at the Royal Court, which she described as a career highlight. Since then, however, she has mainly worked in film and has become interested in characters based on real characters, including Ruth Williams, wife of Seretse Khama, the first woman president of Botswana, in A United Kingdom, Marie Colvin in A Private War “and Marie Curie in” Radioaktiv “.

“She could easily have played a beautiful blonde, the object of desire,” said Marjane Satrapi, the director of “Radioactive”. “It would have been easy for her, but instead she took on roles that are more challenging than the others. She is an actress who is not afraid of getting old and who thinks that is interesting. “

Pike said studios rarely saw her as a comedian, but she did show that she can be one on the BBC’s recent State of the Union series, for which she won an Emmy. “Maybe now people will notice,” she said.

“Things are funny because they are true, and someone like Rosamund who plays so truthfully can be very funny,” said David Tennant, who co-starred with Pike in the UK dramedy What We Did on Our Holiday. For the comedy, he added: “You need a light touch, a dexterity, you have to come to work with a little joy – all the qualities that Rosamund has.”

However, it was 2014’s “Gone Girl” that turned out to be Pike’s breakthrough. “It gave me an opportunity to learn more about film acting than ever before,” she said. “I was allowed to show that I am a woman – extreme, dangerous, sweet, indulgent, vulnerable. It was the first time that I could achieve a freedom on the screen that I had previously only felt on the stage. “

The character of Marla Grayson in “I Care a Lot” shares certain traits with Amy – particularly the use of femininity as a weapon and achievement – but Pike was somewhat outraged by the suggestion that the characters be similar.

“I saw her as completely different,” she said. “I would never want to do a sub-gone girl. To me, Marla was more of a shot from the hip, think of your feet person. “

“It was important to us that the audience enjoyed this and that the dark comedic side was rooted in the truth,” she added. “What are the values ​​in America? What do you deserve respect? Money.”

She thought a little and then smiled: “To be able to watch with horror and joy – people like that.”

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For Two Cloggers, 20 Years to Get in Step and Get Married

Stephanie Goodman was in her early teens when she declared, “I’m going to marry Mark Clifford one day.”

Your friend and teammate Whitney Braswell remembers it well.

“We were in middle school and Mark was that cool, older college guy and she was totally in love with him,” said Ms. Braswell.

Spoiler alert: Ms. Goodman knew what she was talking about. Your teen crush would actually stay, even though it would last over 20 years.

Mrs. Goodman, now 35, was 12 years old when she first saw Mr. Clifford perform. They were both competitive cloggers, a type of folk dance. In the United States, the constipation came from the Appalachian Mountains. And while it may look like tap dancing to the untrained eye, there are differences, although there are now a lot more crossovers between the two forms. Clog dance is based on influences from Wales, the Irish lineage, African folk and square dance. Despite its name, it is not listed in clogs in the US. While it was performed for violin and banjo in the early years, routines for pop and hip-hop are regularly choreographed today.

Mr. Clifford, now 44, is known throughout the world of constipation and beyond. He started an all-male clogging troop called All That! The troupe took part in NBC’s “America’s Got Talent,” which took second place in season one, for two seasons, and performed in the Macy’s Thanksgiving Day Parade and internationally. Four members of All That !, including Mr. Clifford, appear six nights a week on a variety show at the Carolina Opry: Calvin Gilmore Theater in Myrtle Beach, SC, where Mr. Clifford and Mrs. Goodman now live. (The show took a month-long hiatus during the pandemic shutdown, but then returned and is currently on winter break.) The troupe also takes on corporate functions and cruise lines.

Mr. Clifford is the youngest of three children to the late Vincent Clifford and Marie Clifford who lived in Charleston, SC, where his father lived. Vincent Clifford spent 26 years in the Navy and then worked in real estate.

Marie Clifford had been a tap dancer, and when her son showed an interest in constipation, she encouraged him.

“I liked drums and the sound your feet made with them,” said Mr. Clifford, who was first inspired by older boys.

He was only 5 years old when he started constipating, and at the age of 6 he started taking karate lessons. As he quickly studied both, he realized how the martial arts affected the fluidity of his movements in dance and vice versa. When he was 8 years old, he was on his way to becoming a child star in the world of competitive constipation. Mr. Clifford was not that academic and focused entirely on constipation and karate. (He’s also a third degree brown belt, just short of a black belt.) His hours outside of school were consumed by competitions and the trips that require them.

“It seemed natural to me,” said Mr. Clifford. “When I dance, I feel like a top flowing over the floor.”

Mr. Clifford saw no college in his future. But then he said Mars Hill College near Asheville, NC had offered him a constipation scholarship to lead their team, the Bailey Mountain Cloggers. He graduated with a degree in corporate communications and then turned pro, teaching and making educational videos, and starting the troupe.

Ms. Goodman started constipating when she was 10 years old. She and her brother are the children of Barry Goodman, who served in the Army’s 82nd Airborne Division and worked in upholstery, and Donna Goodman, who grew up on a small farm in Granite Falls, NC The family was a regular in Sims Country Bar-B-Que, a restaurant and live music venue with a large dance floor in Granite Falls.

Soon they joined a team: the Sims Country Cloggers. “My mother and I danced together on many stages,” said Ms. Goodman, who competed in the 2002 and 2003 Junior Olympic Games for constipation.

“I didn’t do any other extracurricular activities at school,” she said. “As with any sport, if it’s your passion, you go to rehearsals all the time and then practice in your free time.”

Ms. Goodman also became a constipation teacher.

In those early days, Ms. Goodman recorded the men’s solo division on the family camcorder in competitions, particularly Mr. Clifford.

When Mrs. Goodman was 15 years old, she shyly asked Mr. Clifford for his autograph; She has a photo of them together from this exchange.

In 2003, Mr. Clifford was teaching a master class for Ms. Goodman’s team. She was 19 now, he was 28, and while he remembered her as one of the young cloggers with the camera, he couldn’t help but notice her beauty. He questioned her.

Though she’d waited years for this moment, it was her star crush, not someone to date in real life. She refused.

“I whistled,” she said. “I was really intimidated.”

While she immediately regretted it in retrospect, Ms. Goodman now says, “We were both very busy. Our stars hadn’t aligned yet. “

In the years to come, they each met someone, got married, and then divorced.

In 2011 they made friends on Facebook. It was a social media friendship with little interaction. She always wished him all the best before he went on television, for example, but nothing more.

Finally, Mr Clifford questioned her again in 2012, though she still remembered having been turned down from her years earlier. This time Mrs. Goodman, now withdrawn from constipation and living in her hometown, did not shrink back.

On their first date, they had dinner and strolled through Myrtle Beach’s Grande Dunes Marina. “The second time we met it was like we were old friends or in another life together,” said Ms. Goodman. “It was like, ‘oh, there you are.'”

After a few dates, Mrs. Goodman moved to Myrtle Beach.

“I wasn’t really surprised, I thought it was cute,” said Ms. Braswell, Ms. Goodman’s former team-mate. “He makes her incredibly happy and he really encouraged her to pursue her own dreams too.”

They soon moved in together, first in an apartment and later bought a house. You have a dog and three cats.

But Mr. Clifford’s divorce had deterred him from marriage.

“Let us be independent together,” he put it.

“We had a great life and I felt fulfilled,” said Ms. Goodman, “so I didn’t mean to pressure him.”

But over the years, Mr. Clifford found himself changing his tune.

“She’s my first thought and my last thought and really my only thought all day,” he said. “I found the person who makes me happy all the time.”

In August 2020, he suggested having dinner again for the first time since the closure. They ate in the same restaurant as on their first date and strolled along the marina again. This time he suggested using a bespoke ring.

When looking at dates and locations for a small wedding, nothing about planning was easy.

“Things usually agree with us,” said Mr. Clifford. “And the wedding didn’t take place like that.”

They had been on a cruise in January 2020 and fell in love with Puerto Rico. With the blessings of their families, they decided to flee. They settled on January 21, 2021, and when Mr. Clifford flipped through previous photos on his cell phone, he saw that they had been in San Juan on that exact date the year before.

That day they married Tim Blackford of Peace Love Weddings and a Minister of Universal Life while standing outside the walls of the citadel of Castillo San Felipe del Morro in San Juan.

“He will go out of his way to make me happy and do everything for me,” said Mrs. Goodman, who takes Mr. Clifford’s name. She recently completed a certificate in cybersecurity and is participating in a yoga teacher training program.

“He’s a master of grand gestures,” she said. “But at the end of the day, if it’s just us, even if he’s seen me the worst, he loves me for me.”

When January 21, 2021

Where In the citadel Castillo San Felipe del Morro in San Juan.

The wedding The couple had a ceremony with Bible verses woven in as friends and family watched on Facebook. The only living guest was an iguana who passed by. After they were declared married, the audience cheered.

The reception After the ceremony, the couple took a stroll through Old San Juan and then went out on tacos.

Keep following our fashion and lifestyle coverage on Facebook (Styles and Modern Love), Twitter (Styles, Fashion and Weddings) and Instagram.

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Who Was Dwayne “The Rock” Johnson’s Father, Rocky?

We’re already addicted to CBS Young skirt, a sitcom based on Dwayne “The Rock” Johnson’s youth. Johnson’s show is a fun take on his eccentric upbringing and experience with his iconic wrestling dad Rocky Johnson (plus all of his famous wrestling buddies). It emerges from the premiere that Rocky was a major inspiration for Dwayne as both a father and an athlete. While Rocky sadly passed away in 2020, there is still so much to learn about the man, myth, and legend that helped create The Rock.

Rocky Johnson, also known as Soul Man, was a Canadian-American WWE Hall of Famer in the 1980s. Together with fellow wrestler Tony Atlas he founded “The Soul Patrol” and together they became the first African American tag team world champion in WWE history. He is known to this day as the “king of the drop kick”.

Born in Wayde Douglas Bowles, Rocky was marked by tragedy when his father, a miner, died of lung cancer at the age of just 12. When he moved to Toronto, he changed his name to Rocky Johnson, inspired by his favorite boxing greats Rocky Marciano and Jack Johnson. While doing odd jobs, he boxed at a nearby community center and got good enough even to fight Muhammad Ali.

He soon found himself in Jack Wentworth’s wrestling school, where he quickly developed into a fantastic wrestler. Johnson stepped his way into notoriety and got his big break from world heavyweight champion “Whipper” Billy Watson, who made him his protégé. Although Johnson wrote in his memoir that he believes Watson chose him to advance his political career because he “may have been the only black wrestler from Canada,” the wrestling newcomer rose to prominence in both cases.

In the 1980s, Rocky Johnson was a well-known WWE wrestler who used his fights with Ali and George Foreman to build his reputation as a top notch fighter. He soon fell in love with the daughter of Samoan pro-wrestler Peter Maivia, Ata, who would one day become Dwayne Johnson’s mother. The couple took Dwayne out on the streets and gave the future wrestler and actor a glimpse into the business. After Rocky retired from the ring in 1991, he focused on helping his son enter the wrestling arena himself and turning him from college footballer to iconic WWE Smackdown Superstar.

About his father, The Rock wrote on Instagram in 2018: “Little boys naturally look up to their old man and adore him. They want to be just like them, do everything they do and always seek their approval.” He continued his caption and talked about how his father’s deep love made him who he is today, closing with “grateful for the original skirt.” When Rocky passed away in 2020, The Rock hit social media again, this time to share his heartbreak: “You broke color barriers, became a ring legend, and paved your way through this world.” The star left followers in his grief, writing: “You have led a very full, very hard, accessible life and left everything in the ring. I love you, Dad, and I will always be your proud and grateful son.”

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Don Letts, Mad Professor Workforce With Occasions on Carnival Story

He has been a regular at the Notting Hill Carnival for over 40 years. In 2009 he made the documentary “Carnival!” About the history and politics of the festival.

When asked about a “typical” Carnival anthem, Mr. Letts initially dismissed the task as impossible. However, after pondering, he referred us to an old friend, producer Mad Professor, and his 2005 track “Elaine the Osaka Dancer” – “A strange title, I know,” said Mr. Letts – written for a performer. Panafricanist, on the Mad Professor’s label. Mad Professor, whose name is Neil Fraser, is himself a household name in British music history. He pioneered the creation of the British dub sound, working with artists such as Sade and Massive Attack.

Mr. Letts chose Elaine because he put it this way: “At Carnival, you can stand on a street corner and hear a swimmer with steel pans go by, along with the sound of a Jamaican sound system just around the corner. This song perfectly captures that sound: the collision of calypso and soca with the bass-heavy rhythms of reggae. “

Mad Professor agreed to license the song and we asked him to break it down into individual instruments Tracks or “stems”, each of which is then manipulated by the user of the Instagram effect.

This process turned out to be a little more analog – and more careful – than expected. Once when asked for a progress report, Mad Professor announced that he was “baking the tapes” – which may sound like a bit of music producer slang (or it did to me anyway). In fact, it is a literal description of the process by which analog master tapes are restored by exposing them to high temperature for hours, which reduces humidity levels which can affect the quality of the tapes.

Once the tapes were baked and the stems sourced, our graphics and R&D team built the Instagram effect. This effect allows the user to play with drums, bass, horns and steel pan tracks while seeing comments from Letts on why each element is crucial to a Carnival song.

It’s not the same as dancing to steel pans in the summer heat on a simmering street in Notting Hill, London. But in a year when Carnival has been canceled almost everywhere, we hope you get as close to that feeling as possible.

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Lynn Stalmaster, Hollywood’s ‘Grasp Caster,’ Dies at 93

Lynn Stalmaster, a compassionate and tenacious casting director who changed the careers of hundreds of actors including John Travolta, Jeff Bridges and Christopher Reeve and who cast hundreds of Hollywood films and television programs, died on February 12th at his Los home Angeles. He was 93 years old.

The cause was heart failure, said his son Lincoln.

Billy Wilder, Robert Wise, Hal Ashby, Mike Nichols, Sydney Pollack, and Norman Jewison all relied on Mr. Stalmaster’s ability to identify a character’s inner workings and match it to the thousands of actors who lived in his mental rolodex. This alchemical process, as Tom Donahue, the filmmaker of “Casting By,” a 2012 documentary about the craft put it, made Mr. Stalmaster’s work a fine art.

“Lynn had a wonderful gift,” said Mr. Jewison, the director and producer of such films as “In The Heat of the Night” and “Fiddler on the Roof,” both of which were cast by Mr. Stalmaster. Mr. Jewison was the first filmmaker to give a casting director his own film credit when he starred Mr. Stalmaster in “The Thomas Crown Affair” (released in 1968).

“I always encouraged him to find unusual people,” Jewison said. “For ‘Fiddler on the Roof’ I had to find actors who could speak Russian. Lynn found her in San Francisco, where there was a large Russian community. None of them were actors. He was so awesome. And he was very good at reading with actors. He could keep her calm and safe. “

A shy teenager who trained as an actor in the 1950s and was in the trenches of audition and worked on television and radio, Mr Stalmaster was focused on the actor’s experience and became a fierce advocate for those he referred to believed. After meeting As 18-year-old John Travolta, he pushed for the role that was eventually cast on Randy Quaid in “The Last Detail,” the 1973 Hal Ashby film starring Jack Nicholson.

There was a dead heat between the actors, Mr Travolta recalled in a telephone interview, but Mr Quaid’s physical presence was more like that of the character, as Mr Ashby and Mr Stalmaster told Mr Travolta on a midnight phone call praising his work.

At the time, Mr. Travolta was doing theater and advertising in New York, but Mr. Stalmaster was so believing in him that he persecuted him for two years. When a role for a character in a comedy television pilot emerged at a Brooklyn high school, Mr. Stalmaster urged him to turn down a lead role on a Broadway show and return to Los Angeles for an audition.

He got the role – which turned out to be the boastful punk manqué Vinnie Barbarino on a show that would find its own place in television history: “Welcome Back, Kotter”.

“He was pretty determined,” said Mr. Travolta of Mr. Stalmaster. “He didn’t let anyone consider her. After ‘The Last Detail’ he told me, ‘Don’t worry. That will happen.'”

Mr. Stalmaster has been involved in countless other careers.

He nudged Mike Nichols to cast a young Dustin Hoffman on “The Graduate”. LeVar Burton was in college when Mr. Stalmaster cast him as a lead in the 1977 hit television series “Roots”.

Geena Davis was trained as an actress but worked as a model when Mr. Stalmaster cast her in a supporting role in Tootsie, Sydney Pollack’s 1982 romantic comedy starring Mr. Hoffman. It was her first audition and the role would be her film debut.

After seeing Christopher Reeve in a play with Katharine Hepburn, Mr. Stalmaster suggested him for a small role in “Gray Lady Down” (1978), Mr. Reeve’s first film role, and then successfully campaigned for him to be the Starring in “Superman,” ”Released that same year.

“Lynn understood the actor’s process and the actor’s plight,” said David Rubin, another casting director and president of the Academy of Motion Picture Arts and Sciences. (Mr. Stalmaster was his former boss and mentor.) Mr. Stalmaster’s career has shown that “a success in Hollywood and a person are not mutually exclusive”.

In 2016, Mr. Stalmaster was the first and so far only casting director to receive an honorary Oscar for his work. At the Academy Awards, Mr. Bridges recalled how Mr. Stalmaster started his own career in the early 1970s. At the time, Mr. Bridges was in his early twenties and was trying to figure out whether he wanted a life in business when Mr. Stalmaster offered him a role in “The Iceman Cometh,” who would play John Frankenheimer’s 1973 film about Eugene O’Neill.

“These are some hard things,” Mr. Bridges recalled thinking when telling the audience of the awards. “It scared me as hell. I didn’t mean to do it to tell you the truth. I didn’t think I could do it. “

But he did, and the experience – terrifying but joyful too, he said – made him realize that he could live a life in acting. “I have to thank you, man,” said Mr. Bridges, nodding to Mr. Stalmaster, “for showing me this street. Lynn Stalmaster is the master caster. “

Lynn Arlen Stalmaster was born on November 17, 1927 in Omaha, Neb. His father, Irvin Stalmaster, was a judge on the Nebraska Supreme Court. his mother Estelle (Lapidus) Stalmaster was a housewife. Lynn had severe asthma and when he was 12 the family moved to Los Angeles because of the temperate climate.

A student at Beverly Hills High School, he took an interest in theater and radio and, after completing his military service, earned a bachelor’s and master’s degree from the UCLA School of Theater, Film, and Television in Los Angeles.

Mr. Stalmaster has had roles in a number of films, including “Flying Leathernecks,” a 1951 picture of John Wayne, and a job as a production assistant at Gross-Krasne, a company that made films for television in the early 1950s. When his casting director retired, he was promoted to the job and soon opened his own agency.

“I would spend the days meeting new actors, all this great new talent,” he said on Casting By, the documentary. He was working on Gunsmoke and other hit television shows in 1956 when Robert Wise, the director who directed “West Side Story” and “The Sound of Music” asked him to cast the 1958 film “I Want to Live” Susan Hayward based on the story of Barbara Graham, a prostitute who was sentenced to death row.

Mr. Wise wanted actors who looked like the actual characters in Graham’s life. It was Mr. Stalmaster’s big break, he recalled, as he found new faces to round out the cast and gave the film “a truthfulness, the truth” the director wanted to achieve.

His marriage to Lea Alexander ended in divorce, as did an early, short marriage. In addition to his son Lincoln, Mr. Stalmaster survived his daughter Lara Beebower. two grandchildren; and his brother Hal.

Mr. Stalmaster’s friendliness was as much an element of his art as his matchmaking skills, Mr. Rubin said. But he wasn’t a pushover and he was enormously persuasive, “firm in his creative point of view,” said Mr Rubin, “but extremely adept at convincing others that it was indeed their idea.”

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5 Issues to Do This Weekend

Artist Caledonia Curry (known professionally as Swoon) is bringing a home to Union Square.

The mobile sculpture “The House Our Families Built”, which was previously installed in Brooklyn Bridge Park and Flushing Meadows-Corona Park in Queens, will stand in the North Square of Manhattan Square on Sunday from 10 a.m. to 8 p.m. she moved to Prospect Park) in Brooklyn on February 27). This installation was commissioned by PBS as part of the American Portrait storytelling project that the network set up with RadicalMedia to archive narratives about how we construct our identities as Americans.

Swoon’s “house” is actually the back of a truck that Swoon and her colleague Jeff Stark have converted into a life-size diorama. With its intricately carved roof, the structure is filled with everyday objects and inhabited by painted cutouts, like those of a mother holding a baby. From 10:30 a.m. to 2:45 p.m., the actors will give six 15-minute performances inspired by the stories portrayed in the house to encourage people to investigate their legacy.
MELISSA SMITH

CHILDREN

While the art on offer for families has certainly changed during the pandemic, few have become more expansive or fascinating. However, the BAMkids Film Festival 2021 is both.

The event is presented by the Brooklyn Academy of Music and will run for nine days this year – Saturday through February 28 – instead of a weekend. There will also be a free Young Filmmakers Showcase featuring works by filmmakers ages 5 to 13. Since the entire international celebration is virtual, all titles streamed on the Eventive platform are available worldwide and on request.

The festival’s six main programs of short films range from Animal Party, a compilation for preschoolers, to Stronger Together, a list for viewers aged 9 and over. Tickets, which are available on the academy’s website, are chargeable. They cost at least $ 5 for individual programs and $ 30 for an all-access pass.

But the fun goes beyond filming. Free livestream workshops (the schedule is online) deal with topics such as dance, animation, yoga and the cross-border movement of the Pilobolus troupe.
LAUREL GRAEBER

jazz

Drummer, composer, and poet William Hooker gained notoriety in New York’s experimental scene in the 1970s and 1980s, where postmodernism flowed down the gutters and the idea was usually to mess things up. But he showed himself to be an artist with the utmost concentration and a vision accurate enough to match the power of his drumming. Whether he’s thinking about lessons from history or more short-lived topics, you look directly at his work and make yourself clear.

In March of last year, the debut of his “TOUCH: Soul and Service”, which mixed music, film and other media, was the first show at roulette that was canceled due to the pandemic. He returns there on Saturday at 8 p.m. Eastern Time to watch a livestream of “Chimes,” a new piece that combines music, film and dance. He will be accompanied by guitarist and electronic musician Hans Tammen and synthesizer player Theodore Woodward, who will also be controlling the visuals. You will share the stage with the dancer Germaul Barnes. The performance can be viewed for free on the Roulette website, YouTube and Vimeo channels, and on the Facebook page. Donations are recommended.
GIOVANNI RUSSONELLO

To dance

Around this time, Ronald K. Brown celebrated the 35th anniversary of his beloved dance company Evidence last year with a week of appearances at the Joyce Theater. The program included “Grace”, a life-affirming work that had been created for the Ailey company 20 years earlier, and “Mercy”, a rousing accompaniment piece made in 2019 with the musician Meshell Ndegeocello. About a month later he was at home with Zoom, the first guest on JoyceStream, the theater’s fast-paced hub for online programming.

Evidence returns to the Joyce stage on Thursday to continue the anniversary celebration with a livestream at 8 p.m. Eastern Time. “Mercy” and an excerpt from “Grace” are back on the program. They are joined by other works, including a duet based on a speech by Rev. Dr. Martin Luther King Jr., and the 2016 solo “She Is Here” honoring the persistence of mothers and teachers that is sure to resonate now. Tickets for the stream are $ 25 at joyce.org. The performance is available on request until March 4th.
BRIAN SCHAEFER

Pop rock

In the oft-told story of the decline of the print media, independent publications suffered some of the most heartbreaking victims. But Punk Planet, a music-forward publication that circulated from 1994 to 2007, now has an afterlife: the full run of 80 issues is searchable online for free.

Writer Dan Sinker started Punk Planet as a teenager to offer an alternative to Maximum Rocknroll, a long-running month with a closer approach to punk. In addition to interviews with artists such as Sleater-Kinney, Steve Albini and The Kills, Punk Planet readers could find reports on current social and political issues. Broadcasts from regional music scenes from Canada to Indonesia; and a robust set of reviews. (Out of loyalty to the little guy, Sinkers Magazine tried to check out all the albums that went over the desk as long as they weren’t associated with a big label.)

Earlier issues of Punk Planet can be viewed, downloaded and even printed (for purists) in the internet archive at archive.org/details/punkplanet.
Olivia Horn

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Watch Courteney Cox Play Associates Theme Music on Piano

Courteney Cox knows how to hold that Friends Nostalgia alive. On February 17th, the actress played the all-too-famous theme song from the ’90s sitcom “I’ll Be There For You” by The Rembrandts on her piano with the legendary clap. Musician Joel Taylor accompanied Cox on guitar, and together the duo made it. “How did I do it?” she asked fans in her caption.

This is not the first time Friends Star has shown her musical talents. In the past, she has teamed up with her 16-year-old daughter Coco Arquette for duets, with Cox on piano and Arquette on vocals. The two covered a mix of songs, from Demi Lovato’s “Anyone” to “Burn” by Hamilton. I think Cox Friends The cover has to hold us up while we wait for the highly anticipated reunion, which has been postponed for next month’s shooting. In the meantime, the actress asked for recommendations on what to learn next. . . How about a piano rendition of “Smelly Cat”? Take a full look at Cox’s cover above.

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15 Necessities From Johnny Pacheco and Fania Data, the ‘Motown of Salsa’

Johnny Pacheco’s life told a typical New York Latino story in many ways: He was a Dominican immigrant who played Cuban music for a predominantly Puerto Rican audience. Like many self-proclaimed New York entrepreneurs, he knew he had to take his product to the sidewalk and meet his customers face-to-face to sell records from the trunk of an old Mercedes-Benz in Harlem and the Bronx.

Pacheco had worked on several variations of the son genre at Triton’s nightclub in the Bronx and made a name for himself by adding a hop and flashing a handkerchief while on stage to a hot new one, according to Juan Flores’ book “Salsa Rising.” The style of dancing was called Pachanga. Dreaming of starting his own record label (and in the middle of ending a marriage), he met Jerry Masucci, an Italian-American divorce lawyer with a taste for the Cuban sound. The two got on so well that they started a new record label called Fania, which housed the greatest talents of salsa.

Pacheco and Masucci’s experiment went beyond their wildest dreams. Using the streamlined term “salsa” that had surfaced years earlier in Cuba and Venezuela, Fania Records linked the Afro-Latin fad (think, “I like it that way”) with the remnants of Cuban sounds dulled by the radio silence the embargo after the revolution to create an international dance craze. Fania Records turned Puerto Ricans like Willie Colón and Héctor Lavoe, Cuban diva Celia Cruz, a Brooklyn Jew named Larry Harlow and a Panamanian troubadour named Rubén Blades into stars and spread the new Latin groove from Yankee Stadium to Kinshasa, Zaire.

Here are 15 examples of how Pacheco, who died this week at the age of 85, and his Fania cohort made music history.

From his second album, “Johnny Pacheco y su Charanga”, this is a compelling distillation of Pacheco’s early Pachanga sound that shows the full effect of a Charanga-style Cuban orchestra heavy on flutes and violins. The relentless percussion embellishes texts that tell the story of a woman scratching the percussive Güiro instrument to the satisfaction of the narrator. If you can imagine Pacheco stepping on the downbeat quickly, witness the creation of salsa dance the New York style.

Pacheco’s collaboration with the unrecognized singer Pete “El Conde” Rodríguez (not to be confused with Bugalús Pete Rodríguez) captures a more polished phase of his career. Driven by the guaguancó rhythm that was to become the template for salsa, Rodríguez’s angular, velvety rasp is reminiscent of Afro-Puerto Rican colleagues such as Ismael Rivera and Cheo Feliciano. Pacheco’s arrangements, which created a gentle flow between the piano and horns, quickly became the salsa sound.

Pachecos and Masucci’s coordination of the Fania All-Stars, an inconceivably strong group of the genre’s emerging stars, was perhaps the single most important factor in salsa’s single-handed rise. This recording, which was made at the Cheetah Club, where Bugalú and the first production of “Hair” were shown before the Broadway run, includes long jam songs like “Anacaona”, a tribute to a rebellious Taíno leader powerful vocals by Cheo Feliciano, supported by Willie Colón, Larry Harlow and Ray Barretto, among others.

Celia Cruz was already a star with Sonora Matancera when she left Cuba in 1960 and replaced the legendary La Lupe as Tito Puentes singer in 1966. Her collaboration with Pacheco on “Celia and Johnny” was key to making her the queen of salsa. Pacheco’s precise tempo and the evolving wall of sound made this guaguancó a dizzying, onomatopoeic expression of percussion instruments.

Probably the most popular and talented singer in salsa, Héctor Lavoe was in many ways a symbol of the Puerto Rican experience in New York. His wistful, nasal singing style was reminiscent of a compatriot who at the same time lost himself in the big city and celebrated hell out of the city. The emotional power of Mi Gente, written by Pacheco, stems from his ability to bring New York’s diverse Latino community together to celebrate a dynamic self-esteem amid a grave financial crisis. The studio version is great, but the Live at Yankee Stadium version is the classic.

Willie Colón was born and raised in Mott Haven’s gravelly apartments in the Bronx. He recorded his first album at the age of 17, inspired by a sour, derisive tone that Barry Rogers gave to his trombone in his collaboration with Mon Rivera and Eddie Palmieri. Although there are many bugalú here, this is a scaled-down proto-salsa. Colón’s role in the invention of the salsa attitude by the “Malo” persona becomes clear here. The songs, which insist on Spanish-speaking, Latin American dancing authenticity, are filtered through a gangster-like heartfelt in the street fight.

This low budget 1970s film, directed by Leon Gast, has the grainy underground feel that later films like Charlie Ahearn’s hip-hop genesis “Wild Style” and Glenn O’Brien’s reconstructed post-punk fever dream “Downtown 81” has penetrated. The best visual record of Fania All-Stars rehearsals, club gigs, spontaneous Bembés and street party performances is also the African-hippie-fused wardrobe of the salsa dancers of the time. Just a few minutes later, on “Quítate Tu,” you can see Pacheco effortlessly master the diverse chorus of star singers as he conducts horns and percussion.

Ismael “Maelo” Rivera’s sound, known in Puerto Rico as “El Sonero Mayor” (the greatest singer), was born from working with his childhood friend, drummer Rafael Cortijo. The Rivera Cortijo sound recontextualized the rustic bomba and plena genres by adding more instruments and flowed easily into New York style salsa. “Las Caras Lindas” comes from Rivera’s solo time with Fania – it was written by the famous songwriter Tite Curet Alonso and celebrates the beauty of Afro-Puerto Ricans.

Harlow was a unique figure in the salsa scene – he was born and raised in Brooklyn, the son of a mambo musician who couldn’t get the Cuban sound out of his head. As a whiplash pianist, Harlow called himself “El Judío Maravilloso” (The Wonderful Jew) after his hero Arsenio Rodríguez, known as “El Ciego Maravilloso”. “Abran Paso”, sung by his favorite singer Ismael Miranda, is both an invocation of the Santeria mysticism and a metaphor for an aspiring Latino community.

This was a Christmas album with a twist – instead of tarnishing the Fania All-Stars to make salsa versions of “Silent Night” and “Jingle Bells,” Willie Colón and Héctor Lavoe decided to record classic Puerto Rican aguinaldos with some sort of bath Santa Feel New York. This album is inevitable over the holidays, when you’ve expanded the Puerto Rican family and balanced awe of tradition with an incredible sense of swing. A highlight is the first appearance of Yomo Toro, sometimes known as Cuatro’s Jimi Hendrix, a rustic 10-string lute that explodes out of vinyl.

Ray Barretto, the emotional percussive core of the Fania All-Stars, was a remarkably versatile conga player whose career ranged from bugalú to salsa, latin jazz to session work for the Rolling Stones. His mid-period excellence crystallizes in “Indestructible” riding unprecedented waves of frenetic dance energy. The title track describes a promise salseros make to themselves to keep getting up no matter how often they’re knocked down.

For many years, “Siembra” was the best-selling salsa album of all time and the highlight of the Blades-Colón partnership. The album is an attempt to combine a cinematic concept of New York Latino life with the idea of ​​a classic rock concept album, and the performances are unique and immortal. As a songwriting team, the two had no competition; Blades was at the forefront of his singing, and Colón’s arrangements were never more brilliant.

Another anthemic crowd-pleaser, “Plante Bandera,” alludes to the growing sense of nationalism and pride that brought salsa fans together, as well as the growing awareness of the Latino presence in the US and the projection of the salsa genre itself. Chamaco Ramírez’s sometimes overlooked plaintive style hits just the right notes, and the band’s percussive dynamics, punctuated by an insistent horn section, bring the lyrics to their maximum impact.

The multi-talented poet / troubadour / Hollywood actor shines here on his groundbreaking solo album and combines lyrical elements of the Cuban Nueva Trova with lush Colón orchestral salsa arrangements. With songs like “Pablo Pueblo” he defined the Latino theme of the working class, which became disillusioned with urban misery after being promised the American dream. In “Paula C” he recalls a lost love with the skill of a boom novelist of Magic Realism.

Ray and Cruz were one of the most successful internationalization forces of salsa and spread the promise of their sound especially in countries like Colombia. Ray and Cruz are evolving from their Bugalú roots into mainstream salsa machines and have a following of rabid fans. This particular track offers a break based on a Chopin etude that is always a live crowd puller.

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For My Subsequent Trick … Opening a New Musical in Tokyo in a Pandemic

The security measures in the rehearsal room were extensive. On daily arrival, participants packed their personal items in assigned garment bags, including the face masks that were worn during the commute. Production delivered a new mask each day that could be worn during rehearsal. No food was allowed in the room. No phone chargers. The schedule included regular “ventilation breaks”.

During my first week of quarantine in a Tokyo hotel, I attended rehearsals through Zoom. Choreographer Ste Clough was already in the studio, but the rest of the overseas creative team remained confiscated and channeled back via WhatsApp. Over the course of the week we cut off 15 minutes of the show, replaced a song, and juggled notes from different directions. We staged the first half of our non-stop musical.

On the morning of my eighth day of quarantine, I received a call from a producer. One of the actors had symptoms and had tested positive for Covid-19. The rehearsals were interrupted. The exposed – 19 performers; various producers, stage managers, and production assistants who were in the room every day; That afternoon those who had just dropped in were also tested, including our orchestrator and a vocal coach.

The more optimistic among us shared the hope that the results would confirm the precautions taken and allow work to resume in two weeks after everyone in close contact with the actor concerned had waited their quarantine period.

The next afternoon, our lead producer shared the results at a Zoom production meeting. Seven positives. Five on the stage, two off. Our efforts may have limited the spread of the virus, but certainly not prevented it. It became more and more difficult to adapt to the ever-changing circumstances. “Sometimes,” she said, “the bravest thing is to go away.”

I realized that we would have to be in the studio with as few people as possible if we were to continue. And I had to admit, I wasn’t sure if I would feel safe to be one of them. Since the remote sampling machine was already in place, I decided to return to New York.

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Transcendent Spirits: Carry 40 Voices and Dance

Like dance and the other performing arts, choral singing has had a tough year. Singing is breath, breath carries germs, and these days large groups of people singing together are nightmares. But the urge to raise voices in a song together, like the urge to switch to music, is powerful. Now the New York Choral Society is combining the two – dancing and singing – in a new short film that will be released on February 23rd.

The film, a setting of the anthem “God Is Seen,” will be available indefinitely on the company’s website and YouTube page. It is tuned to the sound of 40 unaccompanied voices, recorded individually, and then mixed using software called Soundtrap. Like many ancient folk anthems, the earliest version of “God Is Seen” was based on an existing popular song that provided its simple, hypnotic melody. The Choral Society sings a 1967 version by the American composer Alice Parker, which has become an integral part of the American choral repertoire.

The dance that the Choral Society commissioned for this piece is a duet by Claudia Schreier. It was also remotely created with Schreier on FaceTime in a state while the dancers – Larissa Gerszke of Complexions Contemporary Ballet and Chalvar Monteiro of Alvin Ailey – rehearse in New York. In the film, Gerszke and Monteiro dance in a performance room in Brooklyn that has been converted by the church, the Irondale, a free, unencumbered room into which light streams in from above. “I wanted to keep it simple,” Schreier said in an interview, “to honor the human voice and the human form. I love the idea that it is about the two things that don’t need any additional elements. They are the most natural way we exist. “

The transcendence of mind has long been a central driving force behind the work of Ronald K. Brown, whose Brooklyn-based company Ronald K. Brown / Evidence turns 35 this year. Thanks to the emergence of “bubble residencies”, in which dancers quarantine and take several Covid tests so that they can rehearse together, the company has been able to continue working. (To attend one of these residences, the dancers traveled 15 hours on the charter bus to St. Louis.)

The result: a program with excerpts from dances that Brown has created over three decades and which will be broadcast live on February 18 at 8 p.m. Eastern. The performance – produced by four presenters – will be broadcast from the stage of the Joyce Theater in Manhattan to the world. (Tickets can be found on joyce.org and the stream will be available through March 4th.)

The pieces are from “March” 1995 and contain words taken from the speeches and writings of Rev. Dr. Martin Luther King Jr. With the exception of the ensemble work “Mercy” from 2019, by the singer-songwriter Meshell Ndegeocello, the dances are solos and duets. The program is a great introduction to Brown’s style with its infectious mix of African, Caribbean and African American ballroom dancing.

The New York City Ballet returns online with a series of weekly spotlights of key works by its founding choreographer, George Balanchine. Week 1 is dedicated to the biblically inspired “Prodigal Son”, Balanchine’s second oldest surviving work, created in 1929 for the Ballets Russes.

The title role has been danced by everyone from Jerome Robbins to Baryshnikov, but the man it belonged to in the 1960s was Edward Villella, who will speak about his experience of dancing the ballet on City Ballet’s podcast, which will start on February 22nd The company will stream an open rehearsal and conversation with Maria Kowroski, a dancer closely linked to the role of the Siren, the beautiful but dangerous nemesis of the lost, in the evening at 8 p.m. Kowroski is expected to retire in the fall, so this is a great opportunity to hear her thoughts. On February 25, the entire ballet will be shown in a recorded performance from a few years ago, danced by Daniel Ulbricht and Teresa Reichlen. You can find these free shows (which will be available through March 4th) at nycballet.com.

If you’ve ever tried dipping a toe into ballet as an adult but were afraid of feeling ridiculous, now is a good time to try. What most people don’t realize is that most beginner classes in ballet studios require a basic level of knowledge. The same goes for most of the courses offered online by professional dancers with extra time.

What you really need is an introductory class given by a skilled teacher who can patiently teach the names of the steps and basic coordination. Thanks to Zoom, this is now possible at home without the fear of embarrassment. A chair or countertop to rest your hand, sweatpants and a small space – let’s say the gap between the couch and the television – are all you need.

Both the Mark Morris Dance Center and the Broadway Dance Center offer one-week virtual ballet introductory workshops. The Ballet Academy East, a small neighborhood school on the Upper East Side, lets you sign up for individual classes, which is very nice.

“We keep them at a really basic level so that people can feel comfortable and then move to one of our beginner classes when they’re ready,” said Julia Dubno, the school’s founder and director, on a phone call. Every week there are four different “Introduction to Ballet” classes to choose from (with different teachers). The Tuesday and Sunday courses include live piano accompaniment, also via Zoom. You can choose the teacher who suits you best or alternatively. And at $ 12 per class, there’s no excuse not to try.