From Silver Screen to Canvas: Sharon Stone and Jerry Saltz Unveil Artistic Journeys in Exclusive 92nd Street Y Artist Talk
Dive into the Canvas: Join Sharon Stone and Jerry Saltz at 92nd Street Y for an Exclusive Artist Talk! 🎨✨ #SharonStoneArt #JerrySaltzTalk #HollywoodToCanvas #SharonStone #JerrySaltz #92ndStreetY
Exploring the Intersection of Hollywood Glamour and Visual Artistry – A Candid Conversation on Inspiration, Challenges, and the Beauty of Living Twice
On Thursday, December 14, 8:00 p.m., the iconic 92nd Street Y in New York City will host a captivating artist talk featuring two influential figures from the worlds of art and entertainment: Jerry Saltz and Sharon Stone. This unique event promises…
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Got this in DM from one of my followers who went to the 92 Y event in New York and got a copy of Sam's book, "Waypoints." 👇
Remember how in the 92y video, Sam mentioned an old girlfriend in his theater days, Elspeth, and I posted it that it was Elspeth Brodie. Well, Sam once again CONFIRMS this in his book. This ���� is from the inside of the book.
"Captured...my heart, on and OFF the stage." Aw, so sweet. ❤️
Too bad Sam can no longer be open about his current love life because of all the harassment and bullying from Extreme Shippers and assorted trolls. 😠
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What is the thing Pedro did with David Duchovny?
They were in The Bubble together, and also did a joint discussion/interview remotely for the 92Y.
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COUCH TOUR: JAZZ IN JULY ALL-STAR FINALE, 92NY, 27 JULY 2023
BILL CHARLAP with Jeremy Pelt, Nicole Glover, Steve Wilson, Ken Peplowski, John Pizzarelli, Renee Rosnes, David Wong, and Dennis Mackrell
I signed up for this wrap up to the 92NY series which BILL CHARLAP curated evidently for the last time. I swapped out last Thursday’s piano extravaganza for the Veronica Swift/Caleb Teicher set which wasn’t technically part of the program. I forewent the multiple piano set for the same reason that my expectations were muted for this show—lots of folks to shepherd across the stage, juxtapositions that would be more curious interesting than successful interesting. Last year Charlap had tenor favorites Chris Potter and NICOLE GLOVER together with guitarist Mike Stern and that was, er, interesting. There were some moments like that, but it worked.
‘S Wonderful was the opener and everyone got solo space. Ken Peplowski’s clarinet was, here, kind of clunky and old fashioned and John Pizzarelli’s vocals were charming but thin though his chordal guitar solos was fine. I am very fond of Jeremy Pelt’s smooth tone and improvisational ideas and Glover’s overall edge. It has been good to see her in Artemis, with Allison Miller, and in these settings with Charlap where she exhibits that she sure can play standards.
But the revelation was Steve Wilson whose alto work was lyrical and fresh. I didn’t hear much Charlie Parker in him, but also not Lee Konitz nor Paul Desmond. I have to then guess that he perhaps draws on Johnny Hodges. In any case, Charlap said that no one sings with the horn like Steve Wilson. He always captures something about his bandmates in his always generous comments, but they do sometimes seem over the top. Still, in this case, yes, Steve Wilson sings—on that opener, A Time for Love, a blues, and the closer.
Pizarelli sang the opener, It Had To Be You with Jeremy Pelt as his foil, and Three Little Words with Ken Peplowski’s clarinet beginning to grow on me. I was fully in his camp as he took up Rosnes’ Life Does Not Wait with Glover. It was a very different tune with each horn, including how the composer comped for them, and that widened my ears.
Rosnes and Charlap reprised Lyle Mays’ Chorino from their Double Portrait album with projected camera shots of each keyboard above the stage to help sort things out. Piano duets are risky but one was worthwhile. Rosnes has brought Mays’ Slink into the Artemis book so I have to think she’s the one with the appreciation of him and so it is for her that I will do my homework on him. It was she not her husband who had the piano seat for the A Time For Love with Steve Wilson and the It Had To Be You.
But it was Charlap who was on the bandstand for Kenny Dorham’s Windmill, a Sweet Georgia Brown contrafact, perfectly suited to Pelt and Glover. As with the John Scofield gig on Tuesday, Charlap, of course, knows and can play jazz compositions. That was a fun one, in part because I enjoyed seeing Glover on a bigger stage.
Charlap offered extensive appreciative comments for any and all concerned in the production of the series, including the stage crew, but also his family, including Rosnes, he reflected on inheriting this series from Dick Hyman and in turn that Aaron Diehl will do just fine (and he will, but he’s not as special to me as Charlap). But then he, David Wong, and Dennis Mackrell played a whisper quiet, simply exquisite Some Other Time which I last heard from Tony Bennet and Bill Evans on a 1976 Canadian television program.
The rollicking closer was inevitable and just fine, well played all around. But it was a reminder of how crowded the stage can get particularly when there’s magic like the Dorham or the two sides of Rosnes’ tune or especially that magical Some Other Time.
I’ll see Bill Charlap next season at Jazz St Louis, maybe twice. He’s worth it as he proved over these two weeks with 92NY.
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Event RECAP: Godfather Of Harlem Finale Screening w/ @ForestWhitaker @92ndStreetY
We had the pleasure of attending a special screening for the finale episode for season 3 of Godfather of Harlem. The early screening was held at 92nd Street Y in New York City a few days before the episode was set to air on MGM. But, before the episode, Whoopi Goldberg was on hand for a special Q&A with star of the show, the legend, Forest Whitaker. Audience members got a chance to indulge in the…
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Just saw this on IG--new pic of Sam with a lucky fan outside the 92ndStreetY event in New York! His hair is growing in nicely.
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Maus Now: Art Spiegelman in Conversation with Hillary Chute
Thu, Dec 1, 2022, 7:30 pm ET
Art Spiegelman discusses the enduring legacy of Maus, his classic graphic biography, after the book’s recent banning by a school board in Tennessee and upon the publication of Maus Now, Hillary Chute’s new collection of writing from contemporary authors exploring the work’s radical achievement.
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