"I want to have sex with you. I just don't want to do it in a way that could be construed as political." Sara Krulwich/The New York Times
From Neil Genzlinger’s review of “Yank!”:
“Yank!,” with music by Joseph Zellnik and book and lyrics by David Zellnik, his brother, of course has an added resonance because of the current debate over whether to repeal the “don’t ask, don’t tell” policy. But this is hardly a political show. Its subtitle, “A WWII Love Story,” encapsulates its main aspiration: to depict a same-sex couple as so many heterosexual couples have been shown over the years, struggling to capture the elusive thing called love against a backdrop of grand events.
If by “a backdrop of grand events” Genzlinger is referring to the social pathology of homophobia that unfairly punishes gay people for being gay and uses the mechanism of government to manipulate gay people’s lives, to deny their very existence, and to prevent them from even developing loving relationships with the people they want, then NO, SO MANY HETEROSEXUAL COUPLES HAVE NOT BEEN SHOWN THIS WAY OVER THE YEARS. OR EVER.
This “hardly political” love story literally cannot exist outside of politics. It takes place within a political system. And it is a condition that is enforced on gay people by heterosexuals who participate in the homophobic establishment. Am I taking crazy pills? If not, please point me to the nearest pharmacy?
As some of you may know, I have been hard at work on a new opera over the last few months. It is now finished and had its world premiere this past weekend at the Mt. Tremper Arts summer festival in the Catskills.
With my ensemble, Collective Opera Company, we created SCARLET FEVER, an evening-length operatic adaptation of Nathaniel Hawthorne’s iconic novel, The Scarlet Letter, which is a book that everyone thinks they know or remember, but in reality, no one knows or remembers much or any of it.
At any rate, while the work (I believe) is strong, and each performance was met with a wonderful audience and some amazing feedback, I was discouraged (I am only human, after all) not to have received really any listings from the NYC classical music and opera media (although we did get this amazing preview in “The Times” – The WOODSTOCK Times, that is…).
This frustration, I’m sure, is no stranger to those who pursue careers as artists. I’m sure the party line is not to give a relationship with the media too much power over you. I agree that this is probably a healthy point of view. But forcing oneself to “not” feel this way does not alleviate all the angst and frustration one may feel for feeling overlooked by the press.
I also don’t believe—for the most part—in invoking mind over matter, when matter has a very real effect on our lives. In this specific case, press coverage (and I’m not even talking about reviews here, but simply getting cultural event listings) effects the number of opportunities people have to find out about your work, which effects how many people will actually come see your work, which effects the opportunity for people to talk about your work, which also promotes your work. Press coverage is real (in this way), and really can have a significant effect on things like ticket sales, and the general awareness of the arts community to your work.
So, yes, I felt snubbed, and annoyed that the NYC classical music media complex ignored (whether intentionally or not) what I believe to be an important event in the larger conversation of opera, classical music and theater.
I’ve since done a little research, and was happy to find out that in at least one instance, that the neglect was basically bureaucratic.
But this is also part of a larger and very personal relationship with one’s work and the media. What is that moment of throwing something out into the canyon of the world, then straining your ear out to hear the echo? It is natural to want this. It is natural to feel let down when the echo does not bounce back. Some might say it is an immature, arresting neediness (or narcissism) on the part of the artist. But there may be no way to eradicate these feelings, and personally, I’d rather spend my energy working around, over and through it, than razing it.
I also feel that if this sort of principal is having an unfairly and excessively negative effect on emerging artists (since press coverage does tend to favor the established venues/organizations), then we should be addressing it head-on, and not just wish it away through self-help.
That said, a few months ago, after I finally bought a Macbook (and subsequently coined the phrase “There is no Art. Only Mac.”), I wrote a little ditty about this desire to be noticed by the New York music critics, and the sadness I feel (well, not the “someone died” kind of sadness, but sadness nonetheless) when the papers turn their cold, silent shoulders to my work.
I’ve inserted the track above (with a fierce new music sharing service, soundcloud, which should allow listeners to actually make comments on the track) and you can read the lyrics through the comment clouds.
“As the internet continues to develop and mature into a powerful platform for communication, marketing, networking, and criticism, we will look at how these technologies have influenced dance. How has this development challenged and changed the landscape of dance journalism and criticism? Does print media remain relevant? How are dance artists and companies utilizing social networking and other Web 2.0 technologies?
“Panelists: Caleb Custer, Director of Marketing, Cedar Lake Contemporary Ballet; Marlon Barrios Solano, creator of dance-tech.net & DANCE TECH/The Program; Andy Horwitz, Founder & Editor, Culturebot.org; Claudia La Rocco, Performance critic, WNYC’s Art.Cult blog; Kristin Sloan, Founder, The Winger, Director, New Media, New York City Ballet; Ryan Tracy, Counter Critic; Eva Yaa Asantewaa, InfiniteBody blog, Body and Soul podcast; and Chris Elam, Artistic Director, Misnomer Dance Theater.
“Lobby TALKS creates a forum for open and in-depth discourse on contemporary issues in dance and performance. Organized around specific themes, each meeting uses as a starting point one or more of the artistic investigations, methodologies, and motivations that can be seen in performance today. Subjects will be investigated, challenged, and considered by an invited group of artists, critics, and theorists, and is open to all who would like to join the conversation.”
Right now, there’s a pretty raging debate over the use of animals in performance over at L. Ro.’s Performance Club. C.C. is like “umm, dogs can’t consent to making art,” and others are like, “well, he’s having fun, so chill the fuck out!”
People are also commenting about other aspects of National Theater of the U.S.A.’s latest offering at P.S.122.
Also, here’s a little lag-time for you.
After C.C. posted this piece of arts news gossip here, and this one here, The Times decided to cast the official seal of approval on these days later.
Although, can we make 30s the new 20s?… (You’ll get it if you read on.)
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A Word to Young Musicians
Q. Times are difficult for young musicians, especially in this economy. Gigs can be few and far between, competitions can be cutthroat, and there’s always the looming, dark shadow of doubt that can plague any musician, especially one with such a long road ahead. What would you say is the most crucial piece of advice a musician in his early 20s could receive, either personally or professionally?
— Andy Jurik
A. Thanks for writing to me, Andy. I take your question to heart and wish I could offer some real answers. Times have always been hard for young musicians, and right now things are hard for almost everybody. So I can imagine your frustration.
First off, I’d say always remember how fortunate you are to be gifted and skilled enough to pursue a career in music. Still, I know how hard the struggle can be.
Every time I heard someone talk about the long, difficult road to becoming a doctor — with medical school, residency, grueling hours, no sleep and more — I get very impatient. Yeah, yeah, yeah, it’s a long tough road. But a medical student travels that road knowing that without question it will lead to an immediate place in the profession.
Contrast this with aspiring musicians, who go to school, take out loans, study and practice, and practice and practice, and do so without any certainly that this will lead to anything. Now that is really difficult. Continue reading →
Below, you will find a post that I prepared weeks ago but didn’t get around to finalizing. It’s a revisit to Ann Liv Young‘s “The Bagwell in Me.” It’s a kind of mega-rant, full of twists and turns, perversities, theories, doubts, and, as always, criticisms. I know this makes me officially obsessed with her work, but whatevs.
Between writing this text and now, I have had a dream that Ann Liv was trying to be my friend, and I was nervous that she wouldn’t like me because of all the shit I wrote about her work. But, in the dream, she was actually totally cool with it. Alas, it was a dream.
After the following, I’m sure we’ll never be friends. But who knows. If I can call L. Ro. “a dirty old dried up lima bean”and then still wind up solid BFFs, maybe there’s hope for ALY and CC…
So, I’m following up on my review of Ann Liv Young’s “The Bagwell in Me”, for which I delivered a somewhat abrupt opinion, even for little old C.C. This is one of the benefits of blogging, in that I can revisit a review almost immediately after publishing it.
And before I posted the video from The Way, which now seems to be sending about a hundred people a day to this site, my review of Ann Liv at Rush Arts was always one of, if not the top read posts daily. I’d also like to note that this particular review has received over two thousand hits to date.
So can we learn anything from this statistical realities? I mean, what common interest could The Way and the work of Ann Liv Young possibly share?
Some initial observations…
First, and most obviously, spectacle. And this is spectacle in the first order, the kind that astonishes, but does not fundamentally impart any real knowledge. When people consume the kind of viral videos that The Way seems to have become, there is a shared sense of agog, or communal ridicule, or, for the more heart-warming viral videos (like the one with the lion hugging those two hippies), shared pathos. But my criticism of these YouTube hits is that they allow people to believe they know more about the world than they actually do.
Take the sensation, “Two Girls and a Cup” (That’s right! There’s a Wikipedia page. Definitely NSFW, and I honestly wouldn’t recommend anyone to watch it, unless you’re actually, genuinely interested in scatological fetish: aka, poop sex). Continue reading →