follow us in feedly
Harlem Renaissance dancer who’s 102 years old sees herself on film for the very first time
04.22.2015
09:27 am

Topics:
Dance
History

Tags:
Alice Barker


 

How did it feel seeing yourself?

Alice Barker: Making me wish I could get out of this bed, and do it all over again.

I don’t care if this is plastered all over the Internet today, it deserves to be here on Dangerous Minds, too. Alice Barker, a 102-year-old chorus line dancer during the Harlem Renaissance sees herself on film for the very first time. It’s a touching and beautiful thing to witness.

She danced at clubs such as The Apollo, Cotton Club, and Zanzibar Club, with legends including Frank Sinatra, Gene Kelly, and Bill “Bojangles” Robinson.

Although she danced in numerous movies, commercials and TV shows, she had never seen any of them, and all of her photographs and memorabilia have been lost over the years.

If you want to send Alice any fan mail, the mailing address for her is below. She deserves the adoration.

Alice Barker
c/o Bishop Henry B. Hucles Episcopal Nursing Home
835 Herkimer Street
Brooklyn, NY11233

 
via Boing Boing

Posted by Tara McGinley | Leave a comment
Krumpety Sax: Tommy the Clown and hardcore krumpers get Benny-Hillified
04.01.2015
05:55 am

Topics:
Dance

Tags:
krumping
yakety sax


 
If you’ve never seen David LaChapelle’s eye-popping 2005 documentary on “krumping” and “clown dancing,” Rize, then you should absolutely drop whatever it is you’re doing and watch that film right now.

Rize documents an early 2000s aggressive style of battle-dance, popularized in South Central Los Angeles, which is a hardcore fusion of tribal, slam, stripper, and break dancing. There were two factions at the time using different forms of the dance, known as “krumpers” and Tommy the Clown‘s “clown dancers.”
 

Tommy the Clown with his dancers
 
It just so happens that this aggressive style of fast-breaking generally tends to synch up pefectly with Boots Randolph’s signature tune “Yakety Sax,” which is better known as the theme to The Benny Hill Show.
 

Popular ‘70s British pervert, Benny Hill
 
The Internet has asserted for years that “Yakety Sax” supposedly makes everything funny, but in the case of these krumpers and clown dancers, it makes a sort of musical sense in creating a totally new reality, separate from what is normally associated with this style of dancing or this particular musical trope. It just fits in a bizarro world kind of way.

If you care to experiment with adding “Yakety Sax” to dance videos yourself, there is the amazing online BennyHillifier, which will allow you to waste hours of time adding the Benny Hill Show theme to absolutely anything you can think of.

In the meantime, get down to these hardcore street dancers going off to some brutal Boots Randolph yaketing.

Yakety Tommy the Clown and his clown dancers:
 

 
More yakety krumpers after the jump…

Posted by Christopher Bickel | Leave a comment
‘Dazzle Dancin’: Your new favorite best/worst 80’s white people dance video
03.16.2015
05:38 am

Topics:
Amusing
Dance

Tags:
white people
Rick Dees


 
A few years ago I was grabbing stacks of tapes at a video store liquidation sale and managed to stumble upon what would become one of the best single-dollar purchases I’ve ever made. Straight out of the “special interest” section, and directly into your brain, comes Dazzle Dancin’, a direct-to-VHS, cocaine-fueled nightmare of ultra-stiff moves hosted by an out-of-touch, middle-aged, creeposaur. Dazzle Dancin’, as an artifact, is simultaneously dated and timeless.
 

 
In 1984 some genius director hired goofball moron DJ, Rick Dees, of “Disco Duck” fame, to host what is quite possibly the worst instructional dance program ever committed to videotape. Never mind the fact that Dees obviously has no rhythm or dancing ability whatsoever, he’ll certainly be able to carry the show on his winning charisma alone, right? Right?
 

 
Dazzle Dancin’ was to be the first in a series that never made it past the pilot, and you’ll see why. In 1984, it would have been tough to go wrong with a vehicle cashing in on the success of MTV, break-dancing, and Flashdance, but Dazzle Dancin’ manages to get it as wrong as you possibly can.

Despite a diverse cast, the moves in Dazzle Dancin’ are painfully white. Rick Dees’ lone dance move is a sort of disinterested sway that seems to be his go-to, whether he’s learning about “breaking” or “punkin’” or “The ET”—which has to be seen to be believed.

In one segment, Dees meets a group of kids outside of the club who teach him about “street dancing” and perform a (terrible) rap, which inspires the ol’ Rickster to do some “rapping” of his own when he gets back inside the club. Let’s just say rapping is even less of a strong-suit than his dancing.
 

 
Dees has some really bad non-sequitur one-liners in this thing like “hurt me baby, make me write bad checks,” and “I wish I could talk like that guy on the street but I think I spent too much time on the freeway,” (???) and can we talk about that Chess King close-out shirt he’s wearing? Too much.

Intrigued? Of course you are, watch Dazzle Dancin after the jump…

Posted by Christopher Bickel | Leave a comment
Step away from the glow stick: Cybergoths rave to ‘Thomas the Tank Engine’ theme song
03.05.2015
11:52 am

Topics:
Dance

Tags:
goth

Cybergoths
 
A few years ago, a bunch (a gaggle? a band? a flashmob?) of cybergoth kids met beneath a bridge underpass for an impromptu daytime dance party. They went viral. Little did they know, in an alternate future universe, they were really waving their glow sticks to the whimsical theme song of Thomas the Tank Engine, that accursed kiddie show which parents despise almost as much as Barney.

The world is about to make a whole lot more sense:

 
(Does this mean that cyber-everything is dead?)

via reddit

Posted by Rusty Blazenhoff | Leave a comment
Ken Kesey and the Grateful Dead’s unrealized ballet


 
Though The Sea Lion, Ken Kesey’s tale based on the mythology of the Northwest Coast Indians, wound up as a children’s book, the author originally intended it to be a three-part rock ballet scored by the Grateful Dead. Kesey discussed his vision for the ballet with Old Dominion University’s student newspaper during a 1982 visit to Virginia:

He says he has just spent all of last year researching Northwest Indian myths. The author wants to write a ballet featuring the Indian legends, and have the music written and performed by rock group the Grateful Dead. “I want the Dead to write the music and score for an orchestra,’’ Kesey explains, “and put the Dead down in the orchestra pit where they belong! The Dead are the best!”

The Greatful Dead traveled with Kesey to the site of the Indian rituals, where they saw the rites performed by the Kwakutl, Tlingit, and Hiada Indian tribes. Kesey wants the Dead to do the ballet because “They won’t be remembered unless they do something permanent.”

Kesey says the performers are enthused about the project, and that Bill Graham, the rock promoter, is very interested in staging the production. Kesey doesn’t want the ballet to be just another rock performance, or rock “opera.” He wants it to be something special and lasting.

The ballet will be called ‘The Sea Lion,” and will concern a boy who finds a magic amulet of god. Later, the boy must contend with magical powers and the designs of necromancers.

Kesey believes the ballet would be a success, and would preserve the mythology of the Indians as well as returning the sense of story and art to people.

“I’d love to see Baryshnikov do it!” Kesey laughs.

Given the personalities involved and the size of the undertaking, it is perhaps not too surprising that this ambitious project was never realized—at least, not with the Dead’s participation. The Sea Lion wasn’t dramatized until 2002, the year after Kesey’s death, when a Chicago-area YMCA staged a production.

In the news clip below, the Dead get back on the bus with Kesey to learn about the folklore of the Northwest Coast Indians at the Lelooska Foundation in Ariel, Washington. It all starts to make a lot of sense as soon as you see the masks.
 

Posted by Oliver Hall | Leave a comment
The Jim Morrison ballet: Love Me Tutu Times
02.16.2015
12:52 pm

Topics:
Dance
Music

Tags:
Jim Morrison
Leipzig Ballet


 
Last year Germany’s Leipzig Ballet performed Jim Morrison choreographed by Mario Schröder. Described as “a journey to find this man, wandering through his biography, his thoughtful poetry and his music,” the ballet does look like a trip of some kind, one that I’d like to see in full.
 

 
For the time being, one must settle for this short preview which looks like what might happen if you took Ken Russell, Hair, Chippendales and Bob Fosse, tossed them into a blender with a few peyote buttons, drank it, and then went swimming in the dancing fountains of the Bellagio Hotel.
 

Posted by Marc Campbell | Leave a comment
Fred Astaire goes disco with his cover of Carly Simon’s ‘Attitude Dancing,’ 1975
02.13.2015
08:16 am

Topics:
Dance
Music

Tags:
Carly Simon
Fred Astaire


 
Fred Astaire may have been the most talented man ever to appear regularly on Hollywood screens. He was an extraordinary dancer and choreographer, certainly a decent enough comic actor, and (at least according to Mel Tormé, who knew a thing or two about singing) the greatest singer in the world as well. Part of what made Astaire such an effective singer is that his vocal instrument was not particularly good, so he had to compensate for that with technique and expression. The story has often been told of RKO’s early verdict on him (at the time he was doing very well on Broadway): “Can’t sing. Can’t act. Balding. Can dance a little.” Time would quickly prove that a preposterous judgment of Astaire’s skills.

None of that made it easier for Astaire to weather the 1970s, when he himself was in his seventies. He did, of course, appear in a palpable hit when he was one of the many luminaries to deal with a blazing skyscraper in 1974’s The Towering Inferno. The 1970s are littered with disco covers of seemingly everything, from Beethoven’s Fifth Symphony and the Star Wars theme to Pink Floyd, the theme from M*A*S*H, and Ethel Merman. To his credit, Astaire was on that train early, recording the entirety of Attitude Dancing (the album) in the summer of 1975.
 

 
The original song, which appeared on Carly Simon’s Playing Possum and hit #21 on the Billboard charts, was released in April 1975, so Fred was seeking to cover a song that was brand-new. It may have still been on the charts when he cut the track.

As cringeworthy disco covers by oldsters go, this one isn’t too bad. As soon as Fred’s vocals enter the track, one experiences that unmistakable sinking feeling of knowing that this is all wrong, but he does a pretty creditable job with the chorus, which helps salvage things. (His mastery of vocal technique came in handy but the basic inexpressiveness of his voice in his mid-seventies is insurmountable.) It’s unclear whether he was transfixed by the word dancing, but it probably wasn’t the best material to be undertaking—even the original is just “eh.”  Oh yeah: here’s the original:
 

Posted by Martin Schneider | Leave a comment
‘Music is the Weapon’: The must-see Fela Kuti documentary from 1982
02.02.2015
06:42 am

Topics:
Dance
Music
Politics

Tags:
Fela Kuti

Fela Kuti Art
 
Musical visionary, street preacher, incendiary political activist, and Afro-beat progenitor, Fela Anikulapo Kuti is chronicled in Fela Kuti – Music is the Weapon, a compelling 1982 documentary directed by Stéphane Tchal-Gadjieff and Jean Jacques Flori. The film documents all-night politically charged performances at Fela’s Shrine nightclub, intimate takes from inside his Kalakuta Republic compound, and scenes of street culture in Lagos, Nigeria. It’s not a complete picture by any means, but it’s a singular and important historical record capturing Kuti in stage and home milieus that were vital to his life and work. If you had any doubt that Fela Kuti was anything short of an otherworldly human being, this film and these performances will dispel that belief quickly. As he did often in his music, Fela speaks out repeatedly against the Nigerian government throughout the film while discussing his political and musical ambitions.

Kuti’s attitude is defiant from the get-go. He takes command in the very first on-screen moment, saying “When you are the king of African music, you are the king. ‘Cause music is the king of all professions.”
 
Fela Kuti Sax
 
Almost immediately it becomes apparent upon watching the film that life can be unforgiving in the place where Fela and crew choose to make their home base. Lagos, Nigeria is depicted as being the most dangerous and violent city in the country and, by extension, the world. Street scenes portraying the chaos, desperation and the day-to-day existence of citizens in and around the former Nigerian capital are beautifully shot. Scenes of poverty, humor and violence along with shipwrecks and scrapyards of decaying cars and motorcycles are interspersed with vibrant local markets. One chilling scene shows the body of a man washed up on a popular beach, a regular occurrence according to the film’s narrator.

In these surroundings Fela Kuti arrives nightly around midnight to his famous Shrine to unleash a combination of music, spiritual ritual, and personal political testimony. The performances captured in Music is the Weapon are magical things, encompassing dance, classic Afrobeat call-and-response and charismatic displays from Kuti himself who plays baritone sax and keys and often performs in nothing but his briefs. The vibrancy of Kuti’s work is obvious through his myriad recordings but it’s even more potent when you can see it radiating from what was ground zero for Kuti’s entire transcendent enterprise.
 
Inside the shrine
Inside The Shrine
 
Some of the most illuminating scenes take place off the stage. One notable sequence begins early in the morning, when “day breaks and the music stops,” and Fela and crew leave in a beat-up van and a rickety VW Beetle and The Shrine is left empty for the day. The band, looking like they could play for a few more hours if they felt so inclined, return to a ramshackle Kalakuta Republic compound where Fela lived with his controversial bevvy of “queens” and fellow musicians. At the time of the filming, Fela had been there for several years despite repeated attempts by the Nigerian government to intimidate him with shows of force, one of which tragically led to the death of his mother years earlier. One such incident actually takes place in 1981during the filming of Music is the Weapon and is documented with still photographs taken by the camera crew who didn’t have time to set up their movie cameras. Nigerian soldiers surround the compound, fire tear gas and brutally beat the occupants.  Kuti finds himself in prison on trumped up charges but is soon released and is right back at it on stage within days at The Shrine, despite the fact that it was supposedly closed by Nigerian officials. 
 
Kuti Car
A car fit for a king.
 
Despite repeated jail sentences and years of beatings, persecution and all nature of mistreatments leveled upon him, Fela comes across again and again in Music is the Weapon as a not-from-this-world, heavy, unstoppable force attempting to live a life of pure principle where politics, spirituality, music and activism are indivisible. 

Ultimately, Fela Kuti’s legacy is far larger than what could be captured in a short film, but this is an informative introduction to the Pan-African pioneer’s life and work. 

Says the anti-colonialist visionary at one point in the film:

Music is a spiritual thing. You don’t play with music. If you play with music you will die young. See because when the higher forces give you the gift of music, musicianship, it must be well used for the good of humanity. If you use it for your own self by deceiving people… you will die young, you see. And I’ve told people this many times. So, I’m gonna prove them all wrong and prove myself right.  Because now I’m 44, I’m getting younger. Because I’m doing it right. I can play music for ten hours and never tire. I’m getting younger because the spiritual life of music that I’ve led, RIGHTLY, is helping me now.

Kuti was the subject of a Toni Award winning Broadway production called Fela! from 2008 and of a recent 2014 documentary called Finding Fela

You can watch all of Fela Kuti – Music is the Weapon below. It’s also streaming on Hulu Plus.
 

Posted by Jason Schafer | Leave a comment
‘Suicide Is Painless’ (AKA the theme from ‘M*A*S*H’)—the disco version


 
Not much to say about this one. If you’ve ever wanted a reason to picture Maj. Charles Emerson Winchester III doing the Hustle, here’s your chance.

In Tom Moulton’s “Disco Mix” column in Billboard of March 5, 1977, he wrote, “The strongest [of three recent singles from FARR Records] is ‘Song From M*A*S*H’ by the New Marketts. Here is a beautiful and well-orchestrated melody featuring guitar and synthesizer playing the melody line and pleasing synthesizer solo in the vamp. The record was produced by Joe Saraceno.”

It’s well known bit of movie-making lore that the lyrics of the song were written by Mike Altman, the son of Robert Altman, director of the original movie. Appearing on Carson in the 1980s, Altman stated that his son had earned more than a million dollars for his part in writing the song, while Altman himself made just $70,000 for directing the movie.
 

 

 
via Ken Levine’s blog

Posted by Martin Schneider | Leave a comment
‘Ubu Sings Ubu’: Pere Ubu meets Alfred Jarry in absurdist pataphysical mash-up


 
More than a century after it premiered, the play Ubu Roi by French playwright Alfred Jarry remains one of the most singularly brilliant accomplishments in the history of drama, a dizzyingly absurdist mashup of Macbeth and Hamlet and King Lear. Its influence in drama is too massive to be detailed here, but more interesting is its impact on rock music. Not only did David Thomas and company decide to name their new Cleveland band after the protagonist of Ubu Roi—that’s a gimme. But much more to the point, rock heroes as diverse as the Fall’s Mark E. Smith and Coil and Henry Cow have drawn inspiration from the manic adventures of the King of Poland-assassinating revolutionary.
 

 
Finally, a veteran of the NYC stage, Tony Torn, had the brilliant idea of staging a production of Ubu Roi that incorporates the songs of Pere Ubu. The project is called Ubu Sings Ubu. Why did it take more than 30 years for someone to do this?? Not surprisingly, the unsettling genius of David Thomas and that of Alfred Jarry fit together like a fish and a trampoline, to employ a suitably Dada-esque trope.

Today is Saturday, January 10, and if you are in the New York area, you can see Ubu Sings Ubu tomorrow and Monday (January 11 and 12) at the Slipper Room at 167 Orchard Street with the appropriately eerie start time of 11 pm. Tickets cost $22 at the door but you can pre-order tix for a cool eighteen smackers.
 

 
The cast includes Julie Atlas Muz, called “the quintessence of fabulousness” by the Gay City News, and the choreography is by Dan Safer, who also co-directed. Ubu Sings Ubu was, hilariously, adapted from a version of the original French text of Jarry’s Ubu Roi that was then zapped into Google Translate.

We discussed the production of Ubu Sings Ubu with its co-director and star, Tony Torn:

Dangerous Minds: Has Ubu Sings Ubu been performed before?

Tony Torn: Ubu Sings Ubu premiered at the Abrons Arts Center on the Lower East Side in Manhattan in April 2014.

I live in Cleveland, and Pere Ubu swings a pretty big dick around here. Have you ever been to Cleveland?

Yes, my good friend the poet and artist Julie Patton lives there! Cleveland rocks.

Aside from the name, what is the connection between Ubu Roi and Pere Ubu, to you?

I was an obsessive fan of Pere Ubu’s music in high school! I wore out my LP of The Modern Dance. I later discovered Alfred Jarry’s proto-surrealist masterpiece Ubu Roi by looking into the band’s influences. The idea to mash them up came 30 years ago, and it finally happened last year. The concept is … the songs of the band, Pere Ubu, done by the character, Pere Ubu. It’s a silly joke, but it’s proved to be very deep in its own way.

Obviously Pere Ubu took their name from Jarry. Is there any thematic content in the songs that relates to Ubu Roi?

It’s more a sharing of sensibilities than any explicit correlation, at least in the genius of David Thomas’ songwriting. Although it’s true that the hook in the song “The Modern Dance” is “Merdre, Merdre.” This of course is the famous first line of Jarry’s Ubu Roi, where the character of Pere Ubu says the french word for “shit” with an extra syllable added…. this caused riots when the play premiered in Paris in 1896! Young William Butler Yeats was in the audience, and famously wrote, “After us, the savage god.”

How hard was it to match up Pere Ubu’s song titles to the plot of Ubu Roi?

It was surprisingly easy! They don’t relate directly on a lyrical level, but emotionally and dramatically they work like gangbusters. Take the two songs we turned into duets between Pere and Mere Ubu. “Non-Alignment Pact” and “Heart Of Darkness” become incredibly powerful when they are performed as playing out a relationship. And “Final Solution” is a super heavy thing to sing as Ubu goes to war against the Russian king. It all seems to fit super well.

If you could add one song by someone other than Pere Ubu, what would that song be?

Nothing but Pere Ubu! I tried to add Minutemen songs in an early concept but it was all wrong. D. Boon’s songwriting is too intellectual for Ubu!

Here’s a music video of the Ubu Sings Ubu Band’s rendition of Pere Ubu’s “Life Stinks”:
 

 
More absurdity after the jump…

Posted by Martin Schneider | Leave a comment
Page 1 of 17  1 2 3 >  Last ›