Archive for September, 2010

SNACK ‘EM IF YOU GOT ‘EM

September 29, 2010

TOMATOES, LEFTOVER BARBEQUED CHIX

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ROAD TRIP TO SEE PAUL TAYLOR COMPANY?

September 29, 2010


here’s a note from Jim Leija (jleija@umich.edu): of course I do not get all the dance info from the midwest or anywhere else, I am fairly new at this blog business, but I think this one is of interest. Could be the company performs other places somewhat near Cincinnati – (if I figure it out, I will post those locations too!).

 

Dear friends in the Dance Community,
I wanted to remind everyone that the legendary dancer and choreographer PAUL TAYLOR (who celebrates his 80th BIRTHDAY THIS YEAR!) will be here in Ann Arbor NEXT WEEK with his company for a four day residency.There are three performances, plus a one-hour family performance on Saturday, and a number of residency activities. You’ll see the complete rundown below, but you can also visit http://www.ums.org or call (734) 764-2538 for more information. We are offering group discounts up to 25% off the regular price of tickets for groups of 10 or more.

Program (Thu 10/7)
Speaking in Tongues (Music by Matthew Patton) (1988)
Esplanade (J.S. Bach) (1975)

Program (Fri 10/8)
Orbs (Ludwig van Beethoven) (1966)
Also Playing (Gaetano Donizetti) (2009)

Program (Sat 10/9)
Black Tuesday (Songs of the Great Depression) (2001)
The Word (David Israel) (1998)
Piazzolla Caldera (Astor Piazzolla and Jerzy Peterburshsky) (1997)

More than a half-century ago, after performing in the companies of Merce Cunningham, Martha Graham, and George Balanchine, Paul Taylor became the youngest member of the pantheon that created American modern dance. Now 80 — an age when most artists’ best work is behind them — Taylor is acclaimed for the vibrancy, relevance, and power of his dances. As prolific as ever, he continues to offer cogent observations on life’s complexities while tackling some of society’s thorniest issues. He may propel his dancers through space for the sheer beauty of it, or use them to wordlessly illuminate war, spirituality, sexuality, morality, and mortality. While his work has largely been iconoclastic, since the very start of his career Taylor has also made some of the most purely romantic, most astonishingly athletic, and downright funniest dances ever put on a stage. UMS, in collaboration with the U-M Department of Dance, shine a light on Paul Taylor, with a day-long residency and three performances highlighting just a fraction of the more than 130 dances he has created, including the beloved Esplanade and a reconstruction of Orbs, his 1966 masterpiece. “What other artist today makes poetic drama of such variety and eloquence? A Taylor season is a journey through one of the most singular and searching imaginations of our time.” (The New York Times, 2/17/10)

UMS » Artist.

SOME ENCHANTED AFTERNOON

September 26, 2010

There is something absolutely transgressive and festive about painting public spaces. 9 a.m.-5 p.m. This Sunday afternoon nearly 1,000 people from around the region painted six blocks of 12th Street in Over-the-Rhine, from Main Street to Central Parkway, in an event called Paint the Street: The Second Annual Ta Da. Five local artists – Pam Kravetz, Carla Lamb, Karen Saunders, Danny Babcock and Matthew Dayler – came up with the design for the painting based on input from residents at an August meeting at the Art Academy of Cincinnati.

SOME ENCHANTED EVENING

September 26, 2010

Whatchu  gonna do when you get out of jail?

I’m gonna have some fun

What do you consider fun?

Fun, natural fun.

I’m in heaven

With my boyfriend, my laughing boyfriend

There’s no beginning and there is no end

Time isn’t present in that dimension

. . .

I’m in heaven

With the maven of funk mutation

Clinton’s musicians such as Bootsy Collins

Raise expectations to a new intention . . .

SOME ENCHANTED MORNING

September 25, 2010

About 4:30 am this morning, I was still awake, so I hooked up Puppy to his leash to give him a quick walk.

Down the street I heard some music.  We walked towards Main Street, where an old piano had been set up on the sidewalk.

An older gent in a long flannel nightshirt (and pants and shoes, too!) was playing a mean boogie-woogie style.

My new friend Matthew was hanging out listening, and another fellow whose name I’ve forgotten. Soon, a red car pulled up, and Melody, another fabulous woman I have met recently, got out.

Melody has a formidable gospel style voice.  Everyone searched for a song we could all chime in on.

It turned out to be the national anthem –

Soon enough, the impromptu party broke up, and we all drifted back to our ordinary lives. A lesson I learned was not to leave my camera behind – if I want to catch everything that goes on around here!

It’s the final night of Midpoint Music Festival, and I want to see Tom Tom Club at Grammer’s. Earlier, the volunteers who sell tickets had not arrived, so I came home empty handed. Perhaps we will go over later and see if we can get in – or, walk down Melindy Street and listen for free (shhh) through the chain link fence.

OTR RHAPSODY

September 24, 2010

SNAPS

September 23, 2010

CRITIC JILL JOHNSTON DIES AT 81

September 22, 2010

Here’s link to her obit in the NYT, written by William Grimes.

Johnston began as a dance critic for The Village Voice. She became a cultural critic and a champion for women. She was a fascinating woman who, in the 60’s, symbolized the revolutionary spirit of the times

http://www.nytimes.com/2010/09/21/arts/21johnston.html?_r=1&hpw

DECADENT DUCK LEFTOVERS

September 21, 2010

Yes, you must cook a duck before having duck leftovers, but I assure you this is one of the most succulent and decadent snacks on the planet.

Directions: acquire ready-to-cook duck, hopefully fresh but hard to find. Prick all over with a big fork because duck is fatty and you want the fat to crisp. Rub all over with a teaspoon or two of neutral oil mixed with lots of crushed garlic and black pepper. Place in roasting pan breast side up on rack. Roast at 425 degrees F for 15 minutes, then lower heat to 350  and cook for an hour and fifteen or twenty minutes – it is done when it is crispy and brown all over. Sometime near the end of roasting, I take a sturdy wooden spoon and slide it into the duck cavity, tipping to let some of the juices run out. Seems to help the crisping process.

Now, the preliminary decadence, still part one. Cook some good egg noodles, and some peeled and chunked potatoes, maybe Yukon gold. Drain well. Remove duck from pan and judiciously spoon pan fat/juice/browned bits over noodles and potatoes.

Place duck, cut into convenient size portions, on platter over potatoes and noodles. Lightly salt and pepper again. Maybe some sprigs of parsley could ring this arrangement? An accompanying crisp white wine would not be out of order.

Gather co-eaters, and dig in. You will need napkins. Try not to be a total glutton.

Finally, if all has gone according to plan, you will have refrigerated leftovers on hand. Then, for a stunning followup to the first dinner, you roast said leftovers at 400 F. in a covered casserole until hot, hot, hot.  Remove the lid for a while at the end of heating, and the noodle edges can become delectably crispy, too.

Just make sure to serve some fresh parsley or radishes alongside, for contrast. A good green salad with tomatoes is even better.

True, all this duck consumption may add a somewhat significant amount of probably unwanted calories, but it will cheer you up so much it won’t even matter.  On any given day, there is hardly anything as soothing as having Duck Dinner Number Two in the fridge, just waiting to provide you with nearly instant and delicious eats.

INFAMOUS LOVE SONGS

September 19, 2010

Earlier I was getting ready for bed. I’ve always been a procrastinator, and I will admit I do regularly surf the channels on the kitchen TV one more time before actually climbing upstairs to the bedroom.

Also, in the back of my mind was later today, when I plan to watch the choreography of Missy Zimmer and Andrew Hubbard, in a “Preview of  Infamous Love Songs,” one of the works on Cincinnati Ballet’s New Works program, closing after tomorrow’s matinee. I saw it on opening night last week, and determined I needed to see it again. Among other things, I want to try and figure out why the music went so well with the dance.

The piece is set to the music of Over the Rhine and lo and behold, just as I am about to switch off the set, I come across the PBS program “Woodland Songs,” featuring an hour of music and conversation with Linford Detweiler and Karen Bergquist, the two founding artists of the very same band.

Well, I never! as my Aunt Ella used to say.

I learned that the band, named after the same Cincinnati neighborhood I now live in, picked up momentum when they opened for Bob Dylan and later Cowboy Junkies.

I listened to songs from their newest album, “The Trumpet Child,” which Detweiler said was titled after one of his early memories of hearing a trumpet in church – he now felt his memory was part of a vanishing America (yes I am aware that this might have been a re-run!).

At any rate, “Who’m I Kidding But Me,” “Motherless Child,” and “If A Song Could Be President,”  were three of them. They were pretty folky and a little mournful. I remember hearing Bergquist sing live at last year’s New Works program.

Michael Johnathon, the host of the program, asked the performers about their backgrounds, in particular what he called the “smokey sound of the keyboards, like being in a dark Chicago jazz club at 3 am.”

Detweiler said he thought it had something to do with being raised playing in a church with “a saloon right across the street.”

I listened to Bergquist’s voice, and thought of the stylings of singers like Maria Muldaur and how her voice was smokey just like the keyboard sound.

So, more tomorrow after I see the program . . .