Frankly, I'm surprised that I haven't seen this copy error more often in early documents.
To learn more from the authoritative source, The Johns Hopkins Gazette, click here.
Frankly, I'm surprised that I haven't seen this copy error more often in early documents.
To learn more from the authoritative source, The Johns Hopkins Gazette, click here.
It was the 33rd President of the United States who brought the White House into a new era—the era of television. President Harry S. Truman held the first televised Presidential Address from the White House on October 5th 1947.
Although ground-breaking, the Truman address to the nation was delivered to an extremely limited audience. Television was still in its infancy. In 1947 there were only about 44,000 TV sets in U.S. homes and the sets were concentrated in just a few major cities. By comparison, there were over 40 million radios in the United States.
First Presidential address to be Televised - Truman, 1947
According to Politico.Com: Though Truman pioneered the now-familiar ritual of a White House telecast to the nation, he was not the first president to appear on television. President Franklin D. Roosevelt broadcast on a compact black-and-white screen from the New York World’s Fair on April 30, 1939.
It should be noted that FDR’s comments on the opening day of the 1939 World's Fair’s were seen only on receivers at the fairgrounds and at Radio City Music Hall, in midtown Manhattan. The next day, May 1st, early TV sets went on sale to the general public, as RCA (Radio Corporation of America)—NBC’s (National Broadcasting Company) parent company—began broadcasting on a daily basis. Those daily telecasts didn't last long; they were, for the most part, suspended until the end of World War II.
First Televised Presidential Address - Truman, 1952
Following Truman's address in 1947, all of his subsequent White House speeches, including his 1949 inaugural address, were televised. In 1948, Truman was also the first presidential candidate to air a paid political ad on TV. President Truman's televised tour of the White House followed some unsettling observations.
From the Truman Library:
The White House is Falling Down: Some said the White House was standing only from the "force of habit"
Shortly after moving into the White House, President Truman noticed the telltale signs of a building under serious physical stress. He frequently complained of drafts and unusual popping and creaking noises in the old house. In letters to his wife Bess, back home in Missouri, Truman often joked of the "ghosts" that inhabited the White House.
"The damned place is haunted, sure as shootin... You and Margie had better come back and protect me before some of these ghosts carry me off."
[Harry Truman, in a letter to his wife Bess, September 8, 1946]
"The floors pop and the drapes move back and forth. I can just imagine old Andy and Teddy having an argument over Franklin."
[Truman, in a letter to Bess in June 1945]
Early in 1948, in response to the President's concerns, engineering reports confirmed that the White House was in a serious state. The White House was burned out to its exterior walls during the War of 1812 and further compomised by poorly constructed, successive additions of indoor plumbing, gas lighting, electric wiring, heating ducts, and major structural modifications in 1902 and 1927. Following the 1948 engineering reports the decision was made to move the Trumans across the street to Blair House for three years while the White House underwent a complete interior demolition. The complete reconstruction only retained the exterior walls of 1600 Pennsylvania Avenue, the Executive Mansion.
Following the reconstruction, on May 3, 1952, President Truman conducted a televised tour of his new home—the new White House. This is an excerpt:
The First White House Tour on Television - the Video
A decade later, on February 14, 1962, First Lady Jacqueline Kennedy proudly presented her White House restoration to the world.
The restoration was Mrs. Kennedy's premiere project as First Lady. She was dismayed during her preinauguration tour of the White House to find little of historic significance in the Executive Mansion. The rooms were furnished with undistinguished pieces that she felt lacked a sense of history. Her initial efforts to restore the White House began on her first day in residence.
Jacqueline Kennedy Tour of the White House - 1962
A record 80-million viewers watched the broadcast. It was later syndicated to over 50 countries around the world. If you haven't seen the tour hosted by Jacqueline Kennedy, you should watch. Besides being a wonderful historical document, it is honestly informative and quite a production—by the television standards of the day.
From the Museum of Broadcast Communications:
On the night of 14 February 1962 three out of four television viewers tuned to CBS or NBC to watch a A Tour of the White House with Mrs. John F. Kennedy. Four nights later, ABC rebroadcast the program to a sizable national audience before it then moved on to syndication in more than fifty countries around the globe. In all, it was estimated that hundreds of millions of people saw the program, making it the most widely viewed documentary during the genre's so called golden age. But the White House tour is also notable because it marked a shift in network news strategies, since it was the first primetime documentary to explicitly court a female audience.
Theatre Project has announced plans for its 41st season. There will be a strong emphasis on support for Baltimore's burgeoning theater ensemble community. Local companies in residence this season will include Dreams & Nightmares Aerial (DNA) Theatre (September), Iron Crow Theatre (October, March/April, and May/June), The Generous Company (January), and In-Flight Theatre (November and February), each of whom will have two-to-three week-long runs.
A highlight of visiting companies in residence will be the December presentation of Double Edge Theatre's The Grand Parade. Imagined through the lens of Marc Chagall's paintings, The Grand Parade takes audiences on an emotionally stunning journey through the 20th century with the use of aerial flight, puppetry and music. The Grand Parade is the first performance in Double Edge Theatre's multi-year performance cycle inspired by Chagall's visionary art, life and times and will make its official world premiere during a limited run at Washington DC's Arena Stage February 6-10, 2013. The Grand Parade is conceived and directed by Baltimore native Stacey Klein, and realized with a collaborative team of artists from the US, Argentina and Russia.
Additionally, Theatre Project will continue its ongoing collaboration with the utterly unique High Zero Festival in September 2012, always a highlight of BTP's experimental offerings. Theatre Project will also present two productions in 2013 with long-time partner Peabody Chamber Opera, which has presented new operas and imaginative re-stagings of older works at Theatre Project for sixteen years.
Theatre Project's dedication to dance will continue with a festival of dance events planned in March 2013. Featured companies will include VT Dance, Ballet Theatre of Maryland, The Collective, ClancyWorks, and a second year of presenting the winners of the John F. Kennedy Center Local Dance Commissioning Project. Our popular Dance Mixer will also return in Spring 2013 with a chance for the burgeoning dance community to showcase its work.
The 2012/2013 season will be the first in eleven years not overseen by Anne Cantler Fulwiler, who steps down from her duties as Producing Director at the end of June.
"It just felt like the right time in the life of Theatre Project for me to step down from this role," says Fulwiler. "It's been a truly amazing time. I've had the honor of presenting nearly 400 productions involving over 3,000 artists from right here in Baltimore, across the US, and seventeen foreign countries. I look forward to seeing many more shows here for many years to come."
Chris Pfingsten, who has served as Managing Director for the past season, will continue in that capacity for the 2012/2013 season. The Board of Directors will take the next few months to consider the theater's future structure.
Detailed show and schedule information is still forthcoming and updates to Theatre Project's website, www.theatreproject.org, will be made regularly.
Theatre Project is funded in part by The William G. Baker, Jr. Memorial Fund, creator of The Baker Artist Awards, www.BakerArtistAwards.org
Theatre Project is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive.
45 W. Preston Street
Baltimore, MD 21201
410-752-8558 (box office)
Here's the 2012 line-up directly from The Charles:
JUNE 30; JULY 2 AND 5.
COME BACK, AFRICA (1959 Lionel Rogosin)
“Rogosin filmed this damning glimpse at apartheid under the false pretense that he was making an apolitical portrait of Johannesburg's music scene. The resulting doc-narrative hybrid is today regarded as a milestone of cinematic investigative journalism.” (Time Out Chicago)
“A work of amazing grace and a forgotten treasure.” (Time Out New York). Restored by the Cineteca di Bologna and the Rogosin Heritage Foundation In English, subtitled Afrikaans and Zulu. 1.33:1 B&W 86 min.
JULY 7, 9 AND 12.
THE LONG DAY CLOSES (1992 Terence Davies)
A few months in the life of a 12-year-old Liverpudlian."Indeed, it's primarily about the small, innocent but very real joys of being alive, recreated with great skill and never smothered by sentimentality. The stately camera movements; the tableaux-like compositions; the evocative use of music and movie dialogue; the dreamy dissolves and lighting - all make this a movie which takes place in its young protagonist's mind.
Beautifully poetic, never contrived or precious, the film dazzles with its stylistic confidence, emotional honesty, terrific wit and all-round audacity." – Geoff Andrews, Time Out London "Entrancing! A glorious new 35mm print!” (Time Out NY) 1.85:1 85 min.
JULY 14, 16, 19.
CITY LIGHTS (1931 Charlie Chaplin)
“City Lights, which wanders between episodes involving Charlie's love for a blind flower girl and his friendship with a drunken millionaire who doesn't know him when he's sober,
is a beautiful example of Chaplin's ability to turn narrative fragments into emotional wholes. The two halves of the film are sentiment and slapstick. They are not blended but woven into a pattern as eccentric as it is sublime.” (Dave Kehr) 1.33:1 B&W 87 min.
JULY 21, 23, 26.
THE COLOR WHEEL (2011 Alex Ross Perry) “In this new comedy, the director Alex
Ross Perry gives a harsh, sarcastic twist to the intimate rivalry of siblings. He costars as Colin, a diffident aspiring writer whose older sister, J.R., a proud and caustic aspiring actress...recruits him to join her on a road trip to her ex’s house to get her belongings...
Along the way, they pummel each other verbally with their constant squabbling and dredge up several decades of pent-up grudges. Perry directs these uproarious rapid-fire flareups with exquisite comic timing and incisive comic framing.” (Richard Brody) 1.85:1 B&W 83 min.
JULY 28, 30; AUGUST 2.
REAR WINDOW (1954 Alfred Hitchcock)
“James Stewart plays a temporarily wheelchair-bound photojournalist who uses his camera as a telescope to spy on his neighbors, including a travelling salesman (Raymond Burr) who may have killed his invalid wife..
Stewart displays a formidable capacity for prurient interest and self-loathing, and everything Kelly does is ‘proper’ yet enchantingly sexual; it’s her most charged and charming performance ever.” (Michael Sragow) RIP Frank Cady 1.66:1 Technicolor. 112 min.
AUGUST 4, 6, 9.
THE EXORCIST (1973 William Friedkin)
“To me, The Exorcist was a story about the mystery of faith, and I tried to depict that as realistically as possible. I had read the files...
of the 1949 exorcism case that prompted Bill to write his novel.... This was not simply a scary story, this was something of the supernatural in the natural world. And that’s how I approached the film.” (William Friedkin) 1.85:1 132 min. Color.
AUGUST 11, 13, 16.
MODERN TIMES (1936 Charlie Chaplin)
“Chaplin was in the midst of his anti-sound protest when he made Modern Times - his most explicit statement against technological advancement and capitalism. It is, in fact, a quasi-sound film, but with all voices emanating from various machines instead of the actors, except for one moment when the Tramp sings a gibberish song.
That the machines can talk, yet the people don't, is all part of their dehumanising effect.... Sometimes sentimental yet highly comical...Regarded as one of Chaplin's finest films.” (Film 4) 87 min. B&W.
AUGUST 18, 20, 23.
KURONEKO (1968 Kaneto Shindô)
“In war-torn medieval Japan, a demon haunts the Rajomon Gate, ripping out the throats of samurai in the grove beyond. The governor sends a war hero to confront the spirit, but what the man finds are two beautiful women who look just like his lost mother and wife.
Both a chilling ghost story and a meditation on the nature of war and social hypocrisy, Kuroneko is the second horror triumph from director Kaneto Shindô (Naked Island, Onibaba), who mixes stunning visuals, an evocative score, and influences from traditional Japanese theater to create an atmospheric, haunting, and emotionally devastating masterpiece.” (Janus) 99 min. B&W ‘Scope. New 35mm Print!
AUGUST 25, 27, 30.
GRAND ILLUSION (1937 Jean Renoir)
“On the occasion of its seventy-fifth anniversary, there’s no need to argue for Grand Illusion’s greatness as a movie. This tale of Frenchmen from all walks of life banding together to escape from German P.O.W. camps in the First World War hasn’t lost its prestige as the supreme antiwar film. But audiences wary of official masterpieces should know that it’s an overwhelming experience, with a robust humor and poignancy that tingle afresh in this prematurely grizzled new millennium.
Rialto Pictures’s release of a new restored print is perfectly timed, and not just for the film’s anniversary. When European unity has again shown how fragile it can be, and polarizing ideologies have fractured democracies everywhere, Grand Illusion offers an unsentimental vision of common humanity.” (Michael Sragow The New Yorker) 75th Anniversary Restoration. 1.33:1. B&W
SEPTEMBER 1, 3, 6.
SANJURO (1962 Akira Kurosawa)
“Akira Kurosawa's 1962 spin-off of his 1961 action comedy hit Yojimbo stars Toshiro Mifune as a disreputable samurai who helps nine young samurai wannabes expose a corrupt official.
Many of the best laughs here concern a couple of very proper female characters who object to Sanjuro's violence (“Killing people is a bad habit,” notes one of them); otherwise Sanjuro's status as a renegade superhero who's nearly always right goes unchallenged.” (Dave Kehr) 96 min. B&W ‘Scope.
SEPTEMBER 8, 10, 13.
THE GREAT DICTATOR (1940 Charlie Chaplin)
“Made in 1940, when a sense of humor about the Nazis was still possible. Charles Chaplin plays two roles, Adenoid Hynkel, the dictator of Tomania, and a poor Jewish barber who's mistaken for Hynkel and sent to deliver a speech in his place...
Chaplin is at his most profound in suggesting that there is much of the Tramp in the Dictator, and much of the Dictator in the Tramp.“ (Dave Kehr) 125 min. B&W 1.33:1.
SEPTEMBER 15, 17, 20.
I KNOW WHERE I’M GOING (1945 Michael Powell, Emeric Pressburger)
“A sublime and utterly distinctive romantic comedy, set towards the end of the second world war. It stars Wendy Hiller as the headstrong, self-possessed and rather conceited young Englishwoman, Joan Webster, who travels to the Hebrides to marry a wealthy industrialist on the remote island of Kiloran.
Foul weather strands her on the neighboring island of Mull the night before their wedding...little by little, she finds herself beguiled by the island and the islanders – in particular Torquil MacNeil...played with delicacy and forthright charm by Roger Livesey.” (Peter Bradshaw, The Guardian) 91 min. B&W 1.33:1.
Saturdays 11:30 AM, Mondays 7 PM, Thursdays 9 PM
Matinees $7.50 - Evenings $9.50./SR. $8.50
1711 N. Charles Street
The folks at the Paley Center for Media in New York City have put together some of the best theme-program schedules that I've ever seen. This series ups their already impressive ante.
The Paley Center recalls the days when, if you liked someone, you made them a tape. We like you, so we're making mixtapes for you—compilation screenings of amazing things in our collection, curated to provide a unique viewing experience each month with a different theme. Plus it's all on a movie-size screen with great sound.
Every month the Paley Center will present special screenings culled from their massive collection, curated to provide a unique viewing experience … audiences can expect classic episodes from favorite series enhanced by exclusive Paley Center content, original compilations of the weird and wonderful created for this series, and selections from rare programs unavailable anywhere else. Plus there is the thrill of seeing it all on the big screen, with great sound.
Here's the package, the line-up:
Summer "Camp" - starts July 5th 2012
Welcome to a compilation of television’s most outrageous, campy, and head-scratching moments—a celebration of the weird, wild, and wacky side of the small screen, culling only the best moments in discrete chunks for the YouTube generation.
We excerpt the craziest scenes from afterschool specials, old network celebrity spectaculars, outdated training and educational films, camp classic television movies, bizarre music videos, and other outré ephemera. A surefire hit for the Gen-X audience and available exclusively at the Paley Center.
Hotter than Hellmouth - August
Hell hath no fury like a demon scorned … or something like that. Join us as we celebrate the dog days of August in air-conditioned bliss with this really creepy compilation of television programming spotlighting emissaries from hell (both fictional and not), anchored by “Once More With Feeling,” the musical episode of Buffy the Vampire Slayer, which will be screened in its entirety. We don’t want to give too much away, but also look for clips from The Twilight Zone, Twin Peaks, The X-Files, South Park,Thriller, plus a few gems from our collection of programs, commercials, and Paley Center panel discussions. To conclude the package, we’ll screen excerpts from Tom Snyder’s legendary 1981 interview with Charles Manson.
Dueling Star Treks - September
Star Trek: The Next Generation celebrates its twenty-fifth anniversary in September, and with this specially produced compilation the Paley Center boldly goes where thousands and thousands have gone before, tackling the red-hot-button question of whether The Next Generation was also the greatest generation, or whether that honor belongs instead to the original series. Was the first Star Trek too campy? Next Generation too earnest? Beverly Crusher or Bones McCoy? Spock or Data? Kirk’s bare chest or Picard’s bare head? We will shy away from no issue, illustrating our points through a deft selection of clips featuring moments from both shows and a few surprises as well, including excerpts from Paley Center events with the cast and the creative team of TNG and with Captain James T. Kirk himself, the great William Shatner.
Sweet TV Dreams (are made of these?) - October
For the month of chills and thrills, the Paley Center brings you a sixty-minute mixtape that shows the truly frightful—as well as the lighthearted—dreamscapes that have seeped out of our collective unconscious and into our daily TV viewing over the years.
The creepy/scary stuff will come from the usual suspects—Twilight Zone, Twin Peaks, The Outer Limits, Buffy the Vampire Slayer—joined with the more psychological hauntings of Six Feet Under, The Sopranos, and M*A*S*H. Then we'll look to Bewitched, My So Called Life, The Practice, and Absolutely Fabulous for the lighter side of our neuroses.
James Bond: 50 Years on Film - November
This mixtape will screen in November, to commemorate the fiftieth anniversary of the release of the first Bond film (Dr. No) and also the release of the new Bond film (Skyfall). Included are clips from the 1954 television version of Casino Royale (Bond’s screen debut); two Bond-themed TV specials in our collection; The Man from U.N.C.L.E., which Ian Fleming helped develop (plus a Paley Center panel with star Robert Vaughn); Get Smart (including clips from PaleyFest); Archer (including our David Cross–moderated seminar); The Avengers (starring Bond girl Diana Rigg); and appearances by Bond stars Pierce Brosnan and Roger Moore in television programs and ads.
Christmas Carols: A Scrooge Mash-up - December
Arguably the most famous and familiar holiday story ever written, Charles Dickens’s A Christmas Carol continues to enchant generation after generation and inspire countless adaptations, with more, no doubt, yet to come. Since everyone has their particular favorite dramatization, the Paley Center presents its own “Scrooge mash-up,” so to speak.
The entire story will be told using clips from versions starring Mr. Magoo, Patrick Stewart, and Basil Rathbone among others, as well as the tale as interpreted by the casts of such shows as WKRP in Cincinnati, Northern Exposure, and The Honeymooners.
Ok now Baltimore, if you love classic film and television as much as I do, let's book some Bolt Buses and head to The Big Apple for a what will certainly be a monthly fun-fest. And bring your friends. There are new finds and real surprises in this collection of shows. I'm sure that you haven't seen some of these moments before. That's all I'm going to say.
The Paley Center for Media
25 West 52 Street • New York, NY 10019
Free for Paley Center Members and included with general admission.
At work, some months ago, I was in a meeting with Craig (Mr. Super Creative and Designer of all things Interactive) and a batch of account people. The group was discussing a business website hosted on the Jive platform. An account manager looked my way and said, "You're fairly new here do you know Jive?"
My instant response, perhaps a little too instant and glib, "Know Jive? I speak Jive."
Craig and I connected over the memory of a great old movie and a great old gal, the late Barbara Billingsley. It was one of those wink-wink moments that are so much fun when everyone else in the room is working just a tad bit too hard.
A few days later I cut some audio and made a swell ringtone to commemorate the moment. It's here, and it's yours for the taking.
'I Speak Jive' - the ringtone
Last week I was at Lexington Market and my phone ringer was set at its highest level. It rang. It rang with the 'I Speak Jive' ringtone.
For a few seconds I panicked. My 'jive' moment seemed like the perfect wrong-place-wrong-time event. I was certain that I wouldn't make it to the safety of Faidley's and my favorite oyster shucker's protective knife.
However, I needn't have worried about the social correctness of my sound bite. Only one Lexington Market shopper even acknowledged that he heard it. He tipped his head toward me and muttered, "Uh huh, that's right."
And, just so you know, Miss Billingsley. I think you were quite a babe.
Fireworks, police raids, and a xylophone are just the tip of the iceberg in this zany Kaufman and Hart comedy classic. It's a comedy that's often listed in the madcap category because it is, it really is. If there was a magnificent category it would be listed there, also.
Meet the Sycamore family, politically independent with healthy distrust of government. They open their New York City home to all sorts of free spirits. When their daughter Alice, decides to invite her conservative boyfriend’s family to dinner, they promise to be on their best behavior. However…!
This extraordinary production stars an all-star Everyman cast. This production ends June 17th and it you only see one show at Everyman this season, please make it this one. I've posted a few highlights from some of the reviews of this production below. I'll add mine here.
"BRANDHAGEN PLAYS XYLOPHONE!
SMOKE, SETS, LOVE, AND LAUGHTER!
The best ticket in town; the finest set you've ever seen."
-Stephen Brockelman, Baltimore 21201
Megan Anderson* — Essie
Clinton Brandhagen* — Ed
Chinai Hardy — Rheba
Deborah Hazlett* — Mrs. Kirby
Brianna Letourneau — Alice Sycamore
Wil Love* — Mr. De Pinna
Bruce Randolph Nelson* — Kohlenkov
Caitlin O'Connell — Penny Sycamore
Jon Odom — Donald
Barbara Pinolini — Gay Wellington
Steve Sawicki — Henderson
Kimberly Schraf — Olga
Matthew Schleigh — Tony Kirby
Carl Schurr* — Mr. Kirby
Stan Weiman* — Martin Vanderhof
Tom Weyburn — Paul Sycamore
Kyle Jackson — Three Men
*Everyman company member
-Tim Smith, The Baltimore Sun
NOT TO BE MISSSED!”
-DC Metro Theater Arts
I definitely recommend. You’ll laugh throughout.”
-Eddie Applefeld, WCBM 680 AM
“UPLIFTING! DELIGHTFUL! LIVELY!
‘You Can’t Take it With You’ has Everyman favorites in roles that they seem born to play!”
-Mike Giuliano, Patuxent Papers
-DC Theatre Scene
“Leaves you hankering for a place at the family's dining room table!"
-Judy Rousuck, WYPR Maryland Morning
“Thoroughly enjoyable...a really fun evening at the theater. Buy tickets now because it's likely to sell out very quickly!"
-MD Theatre Guide
Tickets. Get your tickets here.
You see a lot of wonderful things on Charles Street. But, this is going to be really special. (Read on, you'll thank me, later.)
This 20th Century-Fox, Technicolor extravaganza features Carmen Miranda, Alice Faye, and James Ellison in a story about a singer and a soldier. The Gang's All Here is a film that one reviewer noted was, "like a male hairdresser's acid trip."
I've seen this Busby Berkeley choreographed movie twice and it's actually a fun, tuneful, and totally garish trip. You'll enjoy it—if not love it—and, you'll never forget it. Did I mention that Benny Goodman and his Orchestra are on stage to provide some extraordinary big band scenes and serious music?
Details? I know you want details. Here you go:
THE GANG’S ALL HERE
FEATURING CARMEN MIRANDA in a RESTORED 35MM PRINT
Berkeley’s own special brand of kaleidoscopic fantasy, turned into psychedelic surrealism by the electric red and greens of 20th Century-Fox’s color processing. Those who consider Berkeley a master consider this his masterpiece. It is his maddest film: chorus girls dissolve into artichokes; there’s a banana xylophone; and Carmen Miranda appears in platform wedgies on an avenue of giant strawberries.
SATURDAY, MAY 26 11:30 AM
MONDAY, MAY 28 7 PM
THURSDAY, MAY 31 9 PM.
1943 Dir. Busby Berkeley. Alice Faye, Carmen Miranda, Edward Everett Horton, Phil Baker, Benny Goodman. Technicolor. Newly restored print! 103 min.
INFINITELY DELIGHTFUL, EFFORTLESSLY INVENTIVE! IT IS SOMETHING TO BEHOLD!
– Dave Kehr, The New York Times
A kaleidoscope of garish costumes, eye-popping color, psychedelic musical numbers, and some I-can't-believe-the-censors-let-them-get-away-with-that choreography.
– New York magazine
Time and again, you can’t believe what you’re witnessing: Berkeley’s camera swoops and soars at seemingly impossible trajectories through crowds of extras; Miranda models an expansive fruit headdress... But nothing can prepare you for the literally kaleidoscopic finale, which includes a gaggle of synchronized showgirls and contains eye-searing imagery that anticipates everything from The 5,000 Fingers of Dr. T to Tron.
– Keith Uhlich, Time Out New York
SR. CIT. $8.50
Here's my personal suggestion: Before you see this brilliant piece of joyous cinematography, have a cocktail or two. Leave all of your preconceived notions of major studio motion pictures at home and have a great time. Revel in the color, the movement, the music, the rhythm, and a little love story. Enjoy.
[A final piece of film trivia. This movie could not be shown in Carmen Miranda's home country of Portugal because of the suggestive nature of the banana dance, Alice Faye was pregnant during much of the filming and the U.S. censors mandated that the dancers must hold the end of the bananas at waist-level, not hip level.]
Check The Charles Theatre's venue for tickets.
I first wrote about artist, Carol Marine in October of 2011. Read the post and enjoy her books.
100 SMALL PAINTINGS v3 - by Carol Marine
A WOMAN OF PARIS
Directed by Charlie Chaplin, A Woman of Paris contains no slapstick comedy and Chaplin appears only briefly in a cameo. Noteworthy for the sophistication of its narrative, it was enthusiastically received by critics upon its release. Edna Purviance stars as a village girl who becomes the mistress of a rich and philandering Adolphe Menjou in a provocative precursor to Lubitsch.
SATURDAY, MAY 12 11:30 AM;
MONDAY, MAY 14 7 PM;
THURSDAY, MAY 17 9 PM.
“The first elegantly stylish comedy of manners in the American cinema, reflecting Jazz Age interest in the rich and decadent...became a powerful influence on Ernst Lubitsch.”
”I was absolutely knocked by it....Suddenly, here was a grown-up film, with people behaving as they do in life, and scenes treated with an enormous sophistication.”
“A landmark in sophisticated sexual screen drama.”
1711 N. CHARLES STREET
On Wednesday, May 2, at 1:00 pm, C Street Brass, a quintet founded by Conservatory students, will perform baroque, tango, and jazz crossover works at a free concert presented by WBJC in the Fine Arts Theater at Baltimore City Community College, 2901 Liberty Heights Avenue.
Faculty artist Joe Burgstaller, trumpet, will present Change Your Mind, Change Your Playing, a performance master class for all instruments, on Thursday, May 3, at 7:00 pm in Room LH414 (Leakin Hall). The class will include mock juries and other jury prep.
Courtney Orlando, violin and voice, who teaches ear training at the Conservatory, will give benefit performances for Mount Vernon Music Space, 1015 North Charles Street, on Friday, May 4, at 7:30 pm and Sunday, May 6, at 3:30 pm. On the program are works by Ralph Vaughan Williams, Astor Piazzolla, Caleb Burhans, and Michael Rickelton (MM ’10, Composition). Percussionist Terry Sweeny, a junior, will also perform. For more information, visit mountvernonmusicspace.com.
Soprano Jennifer Holbrook (MM ’09, Voice; GPD ’11, Opera), tenor and countertenor Peter Lee (BM ’06, MM ’08, Voice), and baritone Kevin Wetzel (MM ’06, GPD ’08, Voice) will perform with the Peabody Concert Orchestra, Concert Artists of Baltimore Orchestra and Symphonic Chorale, Peabody-Hopkins Chorus, Peabody Singers, and Peabody Children's Chorus at the Patricia and Arthur Modell Performing Arts Center at The Lyric, 140 West Mount Royal Avenue, on Saturday, May 5, at 8:00 pm. Edward Polochick, artistic director of Concert Artists of Baltimore and a Peabody faculty member, will conduct the collaborative performances of Leonard Bernstein's Chichester Psalms and Carl Orff's Carmina Burana. Tickets are $28 and $38 and may be purchased by visiting lyricoperahouse.com or calling 410-900-1150. Student rush tickets may be purchased for $10 each at the Lyric Box Office starting one hour prior to the performance.
Faculty artist Brian Ganz, piano, will perform Fantaisie for Piano and Orchestra with the National Philharmonic Orchestra as part of an all-Debussy program on Saturday, May 5, at 8:00 pm. The concert will take place at The Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda. For tickets, visit nationalphilharmonic.org.
The Peabody Children's Chorus, directed by Doreen Falby, will present The Poet Sings, a program of music set to the words of Shakespeare, Blake, Dickens, Dickinson, and other great poets, on Sunday, May 6, at 3:00 pm in Peabody's Miriam A. Friedberg Concert Hall. Tickets are $5. To purchase tickets, call the Peabody Box Office at 410-234-4800. Also that day at 3:00 pm, an ensemble from the Peabody Children's Chorus will appear in a performance of Mendelssohn's Elijah by the Baltimore Choral Arts Society in the Kraushaar Auditorium at Goucher College, 1021 Dulaney Valley Road, Towson. For tickets, visit baltimorechoralarts.org.
Free noon recitals
At this week's free Thursday Noon recital in Miriam A. Friedberg Concert Hall, Brassivity—trumpeters Yanbin Chen and Tristan Clarke, hornist Joel Watts, trombonist Emily Joseph, and tubist Scott Miller—will perform Bach's Fugue in G minor, Michael Kamen's Quintet, and the Allegro Vivo movement from Eugene Bozza's Sonatine for Brass; violinist Szu-Yun Chiu, cellist Young Eun Lee, and pianist Sejoon Park will perform Schubert's Trio No. 1 in B-flat major; and violinist Erica Richardson, cellist Antoinette Gan, and pianist Choo Choo Hu will perform Dvorák's Trio No. 1 in B-flat major.
On Friday, May 4, at noon, there will be a free performance by Conservatory harp students in the Peabody on the Court series at the Walters Art Museum, 600 North Charles Street.
My first thought was, "Well, what a depressing beginning to our weekend."
I paused, looked at the beat-up shipping case, opened it, photographed the damage, and silently cursed UPS. That didn't accomplish much. I thought again, and realized that the shipping misfortune was an opportunity to share Harold Krisel with you.
Jacob and I have—after discovering an intuitively handsome, wonderfully executed body of work—fallen in love with the work of artist, Harold Krisel.
While the name Harold Krisel is not bantered about like the names of other American-modern, abstract artists; Jacob and I believe that will change over the next decade or so. Krisel's work has a direct, strong, empirical voice that seems to speak louder with the passing of time. Learn more:
Krisel (1920 - 1995) is represented in the collections of numerous museums including: The Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, The Guggenheim Museum, Smithsonian American Art Museum, Houston Museum of Art, British Museum in England, Bibliotheque National in Paris, Philadelphia Museum of Art. Krisel also completed numerous public commissions and installations, including a nationally recognized mural for the Greenville / Spartanburg Airport in South Carolina.
Harold Krisel was born in Brooklyn, NY in 1920. He studied architecture at the New Bauhaus from 1946-1949 on the G.I. Bill after his discharge from the Army. Twenty-six at the time, Krisel had been interested in art since the 1930s when he arrived in New York—with Carl Holty and Harry Holtzman. He became a member of American Abstract Artists in 1946, and retained that membership for life.
Krisel completed his graduate studies at the Illinois Institute of Technology in 1952.
He worked as an architect at Skidmore, Owings and Merrill until 1966, when he joined the faculty of the High School of Art and Design in Manhattan where he taught architecture until his retirement in 1981.
In 1955 Harold Krisel met his primary patron, Roger Milliken, of Milliken and Company. Krisel was commissioned to design a 26,000 square foot aeration pond for Milliken's headquarters.
Once he retired, Krisel—in his studio in Bridgehampton, New York—pursued his life-long dream of dedicating himself full time to his vision of art and graphics. In Bridgehampton he began by designing his own house and studio. There he befriended artists Ibram lassaw and Perle Fine and he showed at the storied Elaine Benson Gallery.
Harold Krisel died in 1995 of Alzheimer's disease.
On the damage front, we have a received a different piece and when our latest acquisition is properly framed and on the wall, I'll share it with you here. It's titled Jagged Form and it's a powerful expression of perpendicular, parallel form juxtaposed by a single wandering, unknown black form that seems to have a destination in mind. Or, without sign-posts, is it lost? Jagged Form is—with its yellows, from the brightest, most saturated lemon to the palest lemonade, to the solid coal-black of the form—a romp in color and contrasts. Jagged Form is a mystery of intent; a puzzle never to be solved. It is a treat for the eye and a singular hint at the vision of the artist, Harold Krisel.
One more thing makes this piece of art so special for us: We acquired it from two of Harold Krisel's family members.
Technorati Tags: Abstract American Artists, art, artist, bio, biography, collection, Elaine Benson Gallery, Harold Krisel, Ibram Lassaw, Illinois Institute, Jagged Form, Milliken company, museum, New York, Perle Fine, permanent, purchase, Roger Milliken, Skidmore Owings Merrill, story, Technology
Just in from Greater Baltimore Cultural Alliance. Jobs, internships, and more.
For the week beginning March 26th 2012:
Creative Alliance seeks Part Time Box Office Assistant
Previous Box Office experience preferred but not required
Wide Angle Youth Media announces Call for Submissions: 7th Annual Youth Media Festival
Submissions due April 15
Maryland Volunteer Lawyers for the Arts announces Free “Money Matters” Morning Symposium
Friday, April 20, 9am - noon
CENTERSTAGE offering Executive Fellowship
Exposed to all aspects of the administrative side of the theater as well as the administrative interface with artistic and production
Baltimore Symphony Orchestra seeks Group Sales Assistant
Successful candidate will have previous phone sales, theater venue or other hospitality related experience
Soledad Salamé announces Solar Etching and Monoprint Workshops
For artists who have prior print knowledge
Good luck with your submissions and check back here often. It's looking like a very busy season is just beginning for folks looking to work in the arts in Baltimore.
GBCA was born out of a series of conversations between 1998 and 2001, when the cultural community identified a need for a more unified and connected arts and cultural sector. In December 2001, founder Nancy Haragan incorporated Greater Baltimore Cultural Alliance. Nancy Haragan stepped down as director in December 2009. J. Buck Jabaily served as executive director from January 2010 to January 2012, when he was succeeded by Jeannie L. Howe.
Since its launch, GBCA has served as both a catalyst and an incubator for various programs and initiatives in the region. GBCA promotes within and for the cultural community with BatlimoreFunGuide.com, Weekly FunSaver Emails, JobsPlus, and our weekly community newsletter. GBCA has sponsored and co-sponsored bothy symposia and the annual Mayor’s Town Hall Meeting, and offered a number of community convenings. GBCA has helped coordinate sector-wide participation in ambitious citywide festivals, such as VIVAT! (2003), Tour de Clay (2005), Free Fall Baltimore (2006, 2007, 2008), and The Maps Festival (2008), and completed several important sector-wide studies, including a Collaborative Arts Marketing Study. Other significant initiatives were GBCA serving as licensee for the Maryland Cultural Data Project (2007-2011), hosting RadarRedux.com (2008-2011), the Wealth Analysis (2007), and since 2008, our ongoing administration of the Baker Artists Awards on behalf of the William G. Baker, Jr. Memorial Fund. For more on current GBCA programs, click here.
Posted at 07:26 PM in 21201, Actors, Architecture, Art, Business, Employment, Entertainment, Inner Harbor, News, Nonprofits, Photography, Television, Theatre | Permalink | Comments (0) | TrackBack (0)
Technorati Tags: 2012, 21201, about, breaking, director, executive, for profit, gallery, Greater Baltimore Cultural Alliance, inner harbor, Jamie l Howe, jobs, March, museum, news, non profit, opportunities, theater, theatre
Here's an important letter from the Peabody Institute via Margaret Bell.
Dear Fellow Baltimore-Area Arts Organizations:
As you know, this year the Peabody Institute will produce its first summer issue of Arts Alive. This is a reminder that we are currently looking for your performing arts events, from June 1 to Sept. 15, for inclusion in the Arts Alive.
The deadline for those submissions is Thursday, March 15. (If you need more time, please let me know.) These listings are free of charge. This third annual issue will be a stand-alone publication, distributed in the same quantities as the fall and spring Peabody Magazine inserts.
Peabody continues to work with the Greater Baltimore Cultural Alliance and the BaltimoreFunGuide.com to provide a comprehensive listing of music, dance, and theatre events in the Baltimore/Washington region.
Concerts & Event Listings
Deadline for Event Information:
Thursday, March 15
Since your organization is located in Baltimore City or the five contiguous counties (Anne Arundel, Baltimore, Carroll, Harford, and Howard) your event information will be pulled directly from the BaltimoreFunGuide.com.
Your events must be listed on this site to be included. Many of you are currently working with the GBCA and have a user name and password to enter events through the BaltimoreFunGuide Content Management tool, but if you do not, please contact GBCA at email@example.com or 410-230-0200 to learn more about accessing the system.
Arts Alive is a special tear-out section in Peabody Magazine published twice a year and a guide to arts around the region. Arts Alive is distributed free of charge to cultural institutions in Mount Vernon, Downtown Baltimore, the Baltimore Visitors Center, and DC. Please let me know if you’d like to receive copies at your venue.
Advertising Information – Deadlines for Advertising
Space reservation, March 31; Art due April 5
The Gazelle Group, Inc. is the advertising representative for the Peabody Magazine and Arts Alive. The Gazelle Group currently represents the Johns Hopkins Gazette and other local publications. Questions regarding advertising should be directed to Julie Wittelsberger at the Gazelle Group, Inc., (443) 275-2687 or firstname.lastname@example.org
Technorati Tags: 2012, 21201, advertising, ADVERTISING, Arts Alive, Baltimore, Baltimore Fun Guide, Baltimore visitors center, Gazelle Group, Greater Baltimore Cultural Alliance, Johns Hopkins, listing information, Magazine, Margaret Bell, Peabody
Where to watch, you ask? I have the empirical answer: Mid-town Manhattan near New York's famed Madison Avenue, of course. And, you can be there for all the mid-century, Makers Mark-based cocktails, and for all of the fun, and for a great viewing party with some distinguished hosts.
You will be surrounded by some swanky New Yorker's who are fans of the show. But, hey you're from Baltimore, right? You can out-swank them. (If you're not sure how to get your big-city-swanky-game-on, check with Roswell Encina at the Enoch Pratt Library. The man knows fashion. And, he knows flashy socks, too.)
Mad Men Season Premiere Viewing Party
Sunday, March 25, 2012
8:00 pm ET, New York
This viewing party is hosted by TV Guide Magazine's Matt Roush (Senior TV Critic) and Carol Dittbrenner (Features Director)
Doors open at 8:00 pm.
Enjoy a swanky cocktail party and some witty repartee before the season 5 premiere screening.
Come dressed in your best retro-styled finery and receive a Season 5 Mad Men poster, courtesy of AMC.
There will be a Mad Men trivia contest, with some tough questions from Basket of Kisses' Roberta & Deborah Lipp. Following will be the screening of the Mad Men 5th season premiere LIVE from 9:00 to 11:00 pm.
From The Paley Center:
Oh how we have missed Mad Men…the style, the cigarettes and alcohol, and, above all else, the mesmerizing personal and professional machinations of conflicted ad man Don Draper. The Paley Center is delighted to host a live presentation of Mad Men’s fifth season premiere on the big screen—all the better to soak up that gorgeous period detail.
Adding to the ambience will be era-appropriate cocktails and a selection of “retro-mercials” (actual ads from the early sixties) screened during the program’s breaks—look for familiar Sterling Cooper clients including London Fog and Lucky Strike. Best of all, you are encouraged to attend in your finest vintage or retro-styled finery! Let’s turn back the clock to more stylish times and break out the sharp suits, pocket squares, and kicky frocks to make the Paley Center New York’s most fashionable location on this special occasion.
Countdown to Mad Men Trivia
Starting March 15: Follow The Paley Center on Twitter @paleycenter.org for a trivia question-a-day.
Tickets for the viewing party on sale to Members now!
On sale to the general public:
Monday, March 12 at noon.
General Public: $30
In Chorus Line it was Dance 10, looks 3. In these performances it's Dance 10, looks 10.
ClancyWorks Dance Company presents an evening of original choreography on Saturday, April 28th at 8:00pm and Sunday, April 29th at 3:00pm at Baltimore Theater Project.
This evening-length concert, part of the 10th anniversary season of ClancyWorks, is a clear continuation of the mission of the company. It will feature students from residencies at George Washington Carver Center for Arts and Technology and Patapsco High School and Center for the Arts, a performance by The Collective, a Baltimore-based dance company, and some of Clancy’s original works that span the 10-year existence of the company.
This performance manifests the major role that both physical and metaphorical partnering play in Clancy’s work. Specific to Clancy’s creative process is an exploration of architecturally informed partnering work that uses dance to further pedagogical practices by promoting tolerance, teamwork, community activism, and individual empowerment.
Partnering is not only the artistic strength of the company, but also the baseline of their organizational work! From the partnering of physical objects, to the partnering of ideas, ClancyWorks: 10 Years in the Making features diverse dance works that embody Clancy’s use of partnering work not only as an aesthetic statement, but also as a symbol of trust and support.
Spinning Webs explores the wondrous, whirling, win some, lose some, web of relationships. The plots of Cupid and Aphrodite are transformed into the mythic Spider Grandmother—who, according to Native American emergence tales, spun the world into creation. Clancy’s choreography builds upon Spider Grandmother emergence tales and asks: how do we maneuver through our own webs of life, and how do we cultivate a web of relationships? Spinning Webs is part four in Clancy’s exploration of the Spider Grandmother dances.
Drift, showcases Adrienne Clancy and Sandra Lacy in a dynamic duet not to be missed! Prior to founding ClancyWorks Dance Company, Clancy was a member of the Bella Lewitzky Dance Company and the Liz Lerman Dance Exchange, where she held leadership roles as Rehearsal Director, Community Arts Project Director and a lead performer. Lacy previously performed with the Bill T. Jones/Arnie Zane Dance Company. Together, these alpha forces have created a collaboration that examines philosophical questions of pathways and explores who walks with us along these paths.
The Collective, named Baltimore’s Best Dance Company in 2008/2009, will present Sisters choreographed by Adrienne Clancy. As a hub for professional dance in Baltimore, the sixteen-member company will present a dynamic Clancy work based on female relationships.
The concert will also feature students from ClancyWorks’ Arts in Education residencies, where they will be showcased alongside the professional company. These programs include high school students from Patapsco High School and Center for the Arts and George Washington Carver Center for Arts and Technology from Baltimore County. Working together, these students and ClancyWorks Company members have created pieces that demonstrate working as a team yields greater results than an individual could achieve by him or herself.
ClancyWorks Dance Company
Saturday, April 28 at 8:00pm
Sunday, April 29 at 3:00pm
Baltimore Theater Project
45 West Preston Street
Baltimore, MD 21201
Tickets: $20 General Admission; $15 Seniors, Teachers, Artists; $10 Students
To purchase tickets visit www.theatreproject.org or call (410) 752-8558.
Jacob and I have this installation on our must-see list:
March 22, 2012 to May 13, 2012
Internationally renowned artist Doug Aitken (b. California, 1968; lives and works in Los Angeles and New York) will transform the Hirshhorn’s iconic circular building into “liquid architecture.”
Using nearly a dozen high-definition projectors, Aitken will seamlessly blend imagery to envelop the entire façade of the Gordon Bunshaft–designed structure with a 360-degree panorama that will make the Museum recede into cinematic space—rotating, rising, and evolving into new forms.
Exploding film conventions, the work cannot be viewed from any single perspective or at any single moment in time. Visitors must walk the perimeter of the building in order to experience the work more fully.
This site-specific commission will remain on view each evening for nearly two months. More than a temporary artwork, this truly original piece will also become part of the Hirshhorn’s permanent collection, enhancing its ever-expanding holdings of cutting-edge time-based media.
Visit the Hirshhorn Museum online to learn more.
You've seen the photos and videos of Academy Award winners in the Press Room for the Oscars.
Have you ever seen the press room itself?
And here is a link to the room in all of its 360-degree glory.
Visual theatre returns to Theatre Project for two weeks in March with dynamic performances by Baltimore based Nana Projects and Miwa Matreyek, a multi-media artist from L.A.
In conjunction with QuestFest 2012, Quest Visual Theatre's biennial premier international visual theatre festival, Theatre Project will present Nana Project's Alonzo's Lullaby March 9 - 11, and Miwa Matreyek's Myth and Infrastructure and Dreaming of lucid Living March 16 - 18. Talk-backs with the artists will be held following each performance.
In Alonzo's Lullaby, gorgeous hand manipulated cut outs tell a tale of madness, passion and intrigue. Inspired by the Hagenback-Wallace Circus train wreck of 1918, this work is performed by three puppeteers (aka lanterneers) who project 2-dimensional images made of plastic and acrylic gels onto a screen with three overhead projectors. Relying on inventive tricks including scrolls of plastic, masking illusions, and faders allow the puppeteers to manipulate the pieces of plastic with a fluidity that is often mistaken for animation.
Alonzo's Lullaby is a luminous, richly-hued, shadow puppet play for adults, with original score performed by singer/songwriter ellen cherry. Funded by the Jim Henson Foundation, Alonzo's Lullaby received the prestigious Union Internationale de la Marionette citation of excellence in puppetry.
Miwa Matreyek's Myth and Infrastructure and Dreaming of Lucid Living are live performances with projected animation. As the artist walks behind the screen, her shadow becomes an integral part of the animated world - she crosses from domestic/home spaces of kitchens and dining room tables to oceanscapes and cityscapes in a fantastical journey.
Matreyek's performances can be viewed as a cinematic experiences taking place on a screen. What is seen on the screen is a collapsed product of multiple layers of animation, objects and body. Her work exists in a juxtaposition of illusion and non-illusion.
Friday, March 9 @ 7:00pm
Saturday March 10 @ 3:00pm and 8:00 pm
Sunday, March 11 @ 3:00pm
Myth and Infrastructure and Dreaming of Lucid Living
Friday, March 16 @ 7:00pm
Saturday March 17 @ 3:00pm and 8:00 pm
Sunday, March 18 @ 3:00pm
Tickets for all shows
General Admission ~ $20
Seniors/Artists/Military ~ $15
Students ~ $10
** ASL sign language interpreters will be provided for the March 9 & 11 performances of Alonzo's Lullaby and the March 16 & 18 performances of Myth and Infrastructure and Dreaming of Lucid Living. **
Tickets are available through Theatre Project's website and Tixato.
For more information call 410-752-8558.
Alonzo's Lullaby, Myth and Infrastructure, and Dreaming of Lucid Living are being presented as part of QuestFest, a two-week international visual theatre festival. QuestFest features groundbreaking work from exceptional performers and companies dedicated to the use of movement, gesture, and digital media to tell stories. By stripping away the artifice of language, QuestFest builds bridges between disparate communities and cultures.
QuestFest is funded in part by the United States Department of Education, the Herbert Bearman Foundation, the John J. Leidy Foundation, VSA/MetLife Foundation, and Target.
The Charles Theatre in Baltimore is presenting a treasure-trove of Chaplin's films with new 35mm prints.