#Martin Muehle

[ulrichgebert]

Ich erwähnte angesichts des gediegenen Carmen-Films  hier, daß ich Sebastian Nüblings Stuttgarter Inszenierung mochte, mit ihrem grünen Eifersuchtsmonster, das den armen José in seinem Sesselchen mit Stehlampe, Wodka und langweiligen Fenrsehprogramm plagt, der über der ermordeten Carmen brütet, wie es dazu kam. Send in the Clowns! Und mehr Stehlampen! Netterweise wird sie wieder gespielt, und müßte eigentlich ja inzwischen als legendäre Kultinsezenierung gewertet werden. Sie ist aber so fabelhaft, daß sich immer noch Leute darüber aufregen. Es ist in jedem Fall ein Erlebnis, hier noch besonders der stimmgewaltige Martin Muehle als beherzt altersblind besetzter José. Er stielt der Carmen fast die Show. Das ist in dieser Oper auch eher ungewöhnlich. Sagt man altersblind?

[muppetydyke]

Muppet Mainstage, December 31st, 2023

“Honk Around the Clock” was written by Christopher Cerf and Tony Geiss for season 13 of Sesame Street (1982). The song’s title is a play on the song“Rock Around the Clock.” The song is performed by Christopher Cerf, played over a video of a group of “honkers” honking their noses (Brian Muehl, Martin P. Robinson, and Jerry Nelson are the known puppeteers).

[byneddiedingo]

Anna Prucnal in Sweet Movie (Dusan Makavejev, 1974) Cast: Carole Laure, Pierre Clémenti, Anna Prucnal, Sami Frey, Jane Mallett, Roy Callender, John Vernon, Marpessa Dawn. Screenplay: France Gallagher, Dusan Makavejev, Martin Malina. Cinematography: Pierre Lhomme. Production design: Jocelyn Joly. Film editing: Yann Dedet. Music: Manos Hatzidakis. In the 1933 decision that lifted the ban in the United States on James Joyce's Ulysses, Judge John M. Woolsey dismissed the charges of obscenity, though he found that "in many places the effect of Ulysses on the reader undoubtedly is somewhat emetic." I've never found anything to be "emetic" in Ulysses, certainly not on the level of some of the more queasy moments in Dusan Makavejev's Sweet Movie, which exploits every orifice known to be possessed by human beings, especially in the orgiastic scenes featuring Otto Muehl's commune. As for obscenity, that lies in the eye of the beholder. To my mind, Sweet Movie dallies on the brink of it in the scene in which Anna Prucnal's Captain Anna, scantily clad to say the least, makes what appear to be sexual come-ons to a group of boys aboard her boat called Survival. At moments like this I snap out of the trance of make-believe into which art lures us, and into a realization that the boys in the scene are pre-pubescent actors. There's a layer of child sexual abuse in staging such a scene that I can't quite rise above. Beyond that, however, Sweet Movie does precisely what Makavejev wants it to: It surprises, startles, shocks, overturning most of our expectations of what a movie can and/or should show us. It's valuable for that reason alone. Whether it illuminates or provokes thought in its even-handed assault on both capitalism and communism is another question. It has begun to feel dated, as many avant-garde satires tend to do. But it's also done with a great deal of verve and chutzpah, which never really grow old.   

[joaquimblog]

LICEU 2019/2020: Cavalleria Rusticana I Pagliacci (2). LO SALVA MARTIN MUEHLE

Las expectativas eran casi nulas y si no llega a ser por la sorpresa de encontrarme con un tenor de verdad, Martin Muehle, el resultado hubiera sido incluso peor que el previsible. Cómo la Sra. Scheppelmann tuvo la desfachatez, a la sombra de dos títulos populares que se venden solos y con el atractivo de contar con Roberto Alagna, de rellenar el resto con tanta mediocridad vocal? La respuesta es sencilla, un director mediocre programa mediocridad. Pankratov no es ni seguramente será nunca una Santuzza, pero es una voz y una cantante notable fuera de estilo, pero es que Oksana Dyka es un atentado al arte canoro, una cantante insufrible, de voz fea, timbre ingrato y gritos desaforados . A su lado y por gran y disgusto, el Alfio de Ángel Òdena no ayudó en nada a subir el nivel de teatro sin categoría. La voz del cantante catalán muestra un agotamiento notable, con oscilaciones y fluctuaciones sonoras, muy desagradables porque la voz es grande y la proyección descontrolada la convertía en inquietante. 

El tenor Martin Muehle fue una sorpresa. No es un prodigio canoro y la voz a veces queda carente de proyección, pese a tener un volumen más que suficiente. Comenzó poco sutil a la siciliana y poco implicado en el dúo con Santuzza, pero a partir del brindis y en la despedida a la madre estuvo bien y a ratos mucho más que bien. Se reservaba para Pagliacci, claro y fue en la genial ópera de Leoncavallo donde demostró que mirarse con el gran Del Monaco es una buena elección si no se tiene suficiente personalidad arrolladora para ser lo que debería ser él mismo. Mostró carácter y seguridad del todo convincente en un rol tan denso. Me gustó y pese a no tener la personalidad de Alagna, la voz es mucho más idónea para Canio que no la del tenor francés. Él verdaderamente fue el más relevante de una tarde discreta.

También me gustó más Dinara Alieva que no Kurzak. La voz no tiene mucho proyección pero es mucho más adecuada que la señora Alagna, tanto por el color, como por el temperamento dramático / vocal. Desgraciadamente Òdena cantó Tonio y el prólogo, que masacró. Manel Esteve mejoró mucho el Silvio del primer reparto, aquel fracaso Ducan Rock que sólo viendo la foto se entiende por que lo contrataron. Esteve es un cantante muy experimentado que sabe perfectamente sus virtudes y limitaciones y saber en todo momento cómo dar relieve al personaje, con pasión y sin dejarse llevar, controlando siempre y demostrando que es un cantante que siempre da y transmite confianza. El Beppe / Arlecchino de Vicenç Esteve es vocalmente más limitado, ya que en la parte más aguda la voz del tenor catalán pierde seguridad y consistencia. Teatralmente no conlleva problemas, dibujando perfectamente el doble personaje. En Cavalleria brilló Mercedes Gancedo y la Mamma Lucia de la incombustible Elena Zilia. Bien la orquesta del Liceu bajo la dirección inspirada de Nánási y efectivo el Coro, haciendo ostentación de los fuertes como contraprestación a unas medias voces inexistentes. Urge una intervención en profundidad. Quiero mucho al Cor del Liceu y valoro mucho y mucho la tarea imposible de Conxita García, ellos y ella lo saben, es por eso que hace mucho tiempo que exijo una intervención para salvar uno de los puntales de la casa. Los que hace tiempo que me leéis lo sabéis. La producción sigue siendo el gran acierto de la programación de estos títulos, servidos en esta ocasión por cantantes mediocres con contadísimas excepciones. Así y pagando lo que se pagaba ayer por asistir a tanta mediocridad provinciana, el Liceu no tiene ningún futuro.

Feliz Navidad

[chiseler]

The Old Masters: Kurt Kren

31/75: Asyl / 31/75: Asylum (1975)

Kurt Kren (1929-1998) was best known for his work with the unpleasant bodily-fluid ridden productions of the Vienna Aktionists, a group of Hitler’s children whose post-war adolescence did in art what Ulrike Meinhof did in direct action. The suffocating atmosphere of retooled Nazi industrialists and amnesia with a born-again uptightness produced predictable results: the state must not be allowed to retain a monopoly on violence. How many Blood Order members can you watch, parading sanctimoniously on television, grinning in deathsheads from podiums, telling everyone that they have always been good citizen democrats, without wanting to burn it all down?

The body is alienated by the rigid control systems of Nazi and post-Nazi Germany (a continuum by other means); the invisible bodies of the pulverized dead shadow the plants and office blocks; Tiergartenstraße No. 4, where Aktion T-4 (Aktionist?) was hatched—the extermination of the unfit and insane—is now a bus terminal; tourists marvel at the great modernist IG Farben complex, alone in an otherwise-erased Frankfurt (IG Farben’s American legal representative: John Foster Dulles, who also worked for Krupp). No wonder Kren and his friends Otto Muehl and Herman Nitsch wanted to cut off their fingers and smear themselves with vomit, filming it all straight on, just like the Nazis shot the Warsaw Ghetto.

Kurt Kren

Sitting through works like Kardinal, Self-Multilation, and Sodoma remains a chore, but for different reasons than in 1969, I hazard. The glaring bright colors now reflect Japanese game shows or late style millionaire pop art; the beatings, couplings, spurtings and evacuations have long been appropriated by gross-out horror shtick in mainstream Hollywood, likewise the flashing old film stock and jump cuts. What is left is a past-tense sense of the epic, a lofty Wagnerian pronouncement that the cinema is best equipped to investigate violence and that entertainment is really all just fascism. Shaking off the idea of gesamkunstwerk or the marble atrocities of Arno Breker proved harder than it looked, no matter how true every sickened pronouncement of Aktionist agit-prop was—and it was, it certainly is true.

If the ‘Baroque’ aspect of these films was once part of the attack, it has now become a sign of the long dreary reach of fetishism and managed hypocrisy. The problem with animal intestines, bodies wrapped in metal wire, and piles of soaking flesh is that the arrangement does not mirror the repressed psyche of a generation of sons of Gauleiters, born-again liberal bureaucrats and captains of industry, but a great cathedral of interlinked reactionary problems to be solved hermetically. From this point on, such problems were doomed to become wholly personal—as if the artists were unconsciously terrified of collective nihilism after Goebbels cornered the market. Austria is mainly Catholic, and the confessional is never far away from Aktionist agony. Redemption rears its bestial head—which also implies a second innocence, which is postmodern salvation.

To expose the unreality of what remained of the saccharine and morose Nazi regime via vitriol and bleeding flesh was clearly not enough. After the Aktionists called it quits and retired to their various castles and cultic fiefdoms, the Red Army Faction kidnapped former SS officer, then-CDU member, and Bundesverband der Deutschen Industrie head Hanns Martin Schleyer in 1977. When the German government refused to trade this grotesque relic for four captured RAF fighters (who were mysteriously found hanging in their cells afterward, á la the ANC in South Africa, and also like Ulrike Meinhof, a year earlier, another ‘suicide’—all of which shows the repulsive cynicism lurking under a supposedly ‘democratic’ state), Herr Schleyer was topped and left in the trunk of an Audi. No loss, but tears and outrage flowed from a middle class that forgot that it was a far, far greater executioner in ‘39. The late 1970s were dark, dark, dark. The very outrageousness of their ‘happenings’ show that the Aktionists were suckered in by hope ten years prior. The world remakes itself, oblivious.

The case of Aktionist Kren is more curious and longer lasting than the King Ludwig-like careers of Nitsch and Muehl. His early films were stark or wiggly or frozen: trees, landscapes, little images, people in rooms doing hypnotized screen tests. Unlike his later direction in Sodoma et al, he seemed concerned with the medium’s archaic properties and the possibility of making still-life and landscape political. He returned to this program out of the Aktionist dead end.

31/75: Asyl, from 1975, a sequel to his 1960 3/60: Bäume im Herbst, is one of his best films. More Holbein than Kaspar David Friedrich, it shrinks the epic panorama down to an insect view. Using a simple form of time-lapse photography, a static shot shows farmland and a winding road in late autumn to early winter. By placing various filters over the lens, days pass in globules, wax drippings, thick polluted rain, condensation and gum. A man with a dog goes in and out of frame; the snow melts, it rains; light shifts. Not blood and soil but damp, oily mud like a Turner marsh. And no heroics with geysers of blood, iron crosses and milk, the exegesis of guilt. However, there is certainly something displacing the day here. The status quo of round-ups and tests? Isolation, inner migration? The ‘asylum’ of the title suggests a place of refuge but like in English, the German asyl can also mean a madhouse or political asylum. The film was shot in Saarland, West Germany, under French control after WW1 but returned to Germany in 1935. Saarland is border country, a place of several masters and populations on the move. Kren himself was sent off on one of the Kindertransport to Rotterdam, where he lived until the end of the war.

Wilhelm Reich, in his book The Mass Psychology of Fascism, showed that the mysticism of Nazi ideology was depicted foremost in pretzeled human bodies, a combination of Protestant asceticism and cheap porn cartooned in the figure of the swastika. Before landscape, Fascism uses bulky propaganda to conjure up the Fatherland and recites bad poetry about the holy relation between man, pig, earth and muck. Sacrifice is the Father’s cloying prayer, his own death extended by his sons’ dying—for most fathers in the Fatherland rented their land from wealthy landlords, rented rooms from good Aryans, worked for Herr NSDAP Millionaire Flick. Places of death are used over and over again; their industrial emptiness ensures that no birds sing. No birds sing, but not out of reverence for the dead so much as disgust for the living—the quiet living that made those dead, that signed contracts for transport expediency for a Jew, Gypsy or a Red.

Kren’s view from a windowsill does have some of this void mood, yet he rejects the trap of timelessness in favor of everyday decay. The immortal Frost Gods can only bury dogshit in deep snows, give you pneumonia, cake your axel with mud. The landscape lives on geologically and not mystically. It has beautiful things, extraordinary things, because its own microscopic changes are more fabulous than eternity. Kren’s little film avoids both faces of the same reactionary crisis: that of the epic-making National Socialists, and his own earlier anti-epics that attacked the drapery of the historical fasces. Fall and winter last a little over 8 minutes in the duration of this film, which took 21 days to shoot. The Third Reich was supposed to last for 525,600,000 minutes, which is a thousand years of unreal time. William Blake wrote: He who binds to himself a joy/ Does the winged life destroy.

All of Kren’s films are curious, even his old naughty routines. He moved to America in 1978 and travelled the country, stopping to show his films at universities before finally settling in Texas, where he split his time between Austin and Houston. There, he became a fixture in the punk scene, appearing with some of the best bands of the time, projecting his films behind the noisy vigorous music of Left agitators like Really Red and Culturcide. Always a workman, he made new films while employed as a security guard at the Houston Museum of Fine Arts. He died back in Vienna in 1998.

by Martin Billheimer

Links:

Technical details of the film here:  http://www.resettheapparatus.net/corpus-work/id-31-75-asylum.html

The film @ https://www.youtube.com/watch?v=cblbgbnE1wo

‘Ode to Kurt Kren’, fan video with photos, using the tribute song by his friends, Really Red, recorded 1982: https://www.youtube.com/watch?v=v3_RfD0Qv_k

[themuppetmasterencyclopedia]

Telly Monster

PERFORMERS Martin P. Robinson 1984-present

Brian Muehl 1979-1984

DEBUT 1979

Telly Monster is a slightly neurotic young monster who lives at 1304 Sesame Street.

Telly was initially conceived as a monster obsessed with watching television; his name is short for Television Monster. In his early appearances on Sesame Street, Telly had antennas coming out of the top of his head, and his eyes would whirl around when he watched TV. A segment of his first appearance appears on the 40 Years of Sunny Days DVD set. This one-note personality, along with the antennas and whirling eyes, was soon dropped, and Telly became the worrying, easily frustrated character he remains today (however, in the Talk, Listen, Connect episode Deployments, he is still shown to be an expert on TV and computers).

Telly was originally performed by Bob Payne for his first few appearances in 1979, then by Brian Muehl who used a low, gruff-sounding voice. Muehl also developed Telly's worrywart personality, making Telly a character who always needed reassurance in order to be confident. When Martin P. Robinson took over in 1984, he originally began with the personality Muehl already established for the character, using a voice similar to Muehl’s Telly voice. However, Telly evolved over time, gaining a much stronger emotional range. “His main thing now is that he believes totally in whatever he’s into,” says Robinson “And he can turn on a dime and that doesn’t belie what he was feeling before. He can go from great joy to great sorrow and it’s all totally genuine.”

Early on, Telly was often paired with Oscar the Grouch, whom he tries to befriend against tremendous odds. The two were traveling companions in Follow That Bird, and Telly is a member of Oscar's fan club, the Grouchketeers. The two starred in two recurring sketches together: "Ask Oscar," which Telly introduced; and "Sneak Peek Previews." Their most recent pairing together was in a sketch demonstrating words that begin with the letter B. (First: Episode 4248)

In recent years, Telly has often been seen in the company of his good friend Baby Bear. Telly has a great love of triangles, and owns a pet hamster named Chuckie Sue. Telly has a favorite toy doll which he named "Freddy." When Telly was a baby monster, his favorite toy was a stuffed animal horse which he named "Clark" before he got "Freddy". In the video Bedtime Stories & Songs, when Telly comes to Big Bird's nest for a sleepover, he brings a menagerie of different stuffed animals that almost overflow the entire nest. He also plays the bassoon, the tuba and, of course, the triangle. He also occasionally appears as a Monster on the Spot reporter. He also often jumps on a pogo stick, after Mr. Handford taught him how to in a 1993 episode.

Modern versions of the Telly puppet have movable eyelids to let his eyes widen, a handy technique when the monster is in panic mode. There are also two Telly puppets that have been interchangeably used throughout the show. The more frequently used version is a "sack puppet", similar in design to Cookie Monster or Rowlf the Dog, where the arm sleeves are directly attached to the base of the puppet. The second version is a full-body version of the character, with legs and feet attached. The puppet's arms are stuffed, with visible arm sleeves similar in design to the arms of Ernie or Fozzie Bear.

For Sesame Street's 40th season, Sesame Workshop featured a digital promotion called "Muppetbook", which featured profiles similar to those seen on Facebook. The profile listed squares, circles, and Woody Allen movies (too much anxiety) as Telly's pet peeves. Among his favorite songs are "I Whistle a Happy Tune," "Don't Worry, Be Happy," and "Don't Cry Out Loud."

FILMOGRAPHY

Sesame Street

Big Bird in China

Don't Eat the Pictures

The Muppets Take Manhattan

Follow That Bird

The Muppets: A Celebration of 30 Years

Learning About Letters

Sleepytime Songs and Stories

Sesame Street, Special

Sesame Street: 20 and Still Counting

The Muppets Celebrate Jim Henson

Big Bird's Birthday or Let Me Eat Cake

Sesame Street Jam: A Musical Celebration

Sesame Street's All-Star 25th Birthday: Stars and Streets Forever

Sesame Street Stays Up Late

We All Sing Together

The Great Numbers Game

Sesame Street 4-D Movie Magic

Elmopalooza

Elmo's Musical Adventure: Peter and the Wolf

The Adventures of Elmo in Grouchland

CinderElmo

The Street We Live On

Let's Make Music

↑ hide

BOOK APPEARANCES

The Sesame Street Circus of Opposites (1981)

City (1982)

More Who's Who on Sesame Street (1982)

Bert's Big Band Paint-with-Water Book (1983 reprint)

People in Your Neighborhood (1983)

A Baby Sister for Herry (1984)

Lovable, Furry Old Grover in Please Don't Push the Red Button (1984)

A Silly Sesame Street Story: The Three Little Pigs (1984)

Big Bird's Book of Rhymes (1985)

Big Bird Joins the Carnival (1985)

Ernie's Finish the Picture (1985)

Follow That Bird Activity Book (1985)

Follow That Bird coloring book (1985)

Sign Language ABC (1985)

A Bird's Best Friend (1986)

Find the Shapes (1986)

Through the Year (1986)

The Runaway Soup and Other Stories (1987)

Colors (1987)

Shape Up! (1987)

Big Bird's Square Meal (1988)

Going Places (1988)

A New Playground on Sesame Street (1988)

Oh, I Am So Embarrassed! (1988)

The Sesame Street ABC Book of Words (1988}

Come As You Are (1989)

The New Who's Who on Sesame Street (1989)

Museum of Monster Art (1990)

How to Get to Sesame Street (1991)

Sesame Street 123 (1991)

We're Counting on You, Grover! (1991)

What Do You Do? (1992 edition)

Grover's 10 Terrific Ways to Help Our Wonderful World (1992)

Happy and Sad, Grouchy and Glad (1992)

We're Different, We're the Same (1992)

Elmo's Mother Goose (1993)

From Trash to Treasure (1993)

Around the Corner on Sesame Street (1994)

Bright and Early with Elmo (1994)

Elmo's Big Lift-and-Look Book (1994)

Sesame Street Stays Up Late (1995)

B is for Books! (1996)

Elmo's Lift-and-Peek Around the Corner Book (1996)

Rise and Shine! (1996; reworked as Up, Up, Up! in 2011)

Elmo's Christmas Colors (1997)

Pumpkin Patch Party (1997)

The Sesame Street Word Book (1998)

Elmo's ABC Book (2000)

Watch Out for Banana Peels (2000)

Elmo and the Monsters (2001)

Clap Your Hands! (2002)

[worldfoodbooks]

NEW IN THE BOOKSHOP: FILM AS A SUBVERSIVE ART by Amos Vogel (1974/2005) One of the great books on film. The original edition of Amos Vogel’s seminal book, Film as a Subversive Art was first published in 1974, and has been out of print since 1987. So ahead of his time was Vogel that the ideas that he penned in this important volume some 40 years ago are still ever relevant today. Accompanied by over 300 rare film stills, this book analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This detailed examination of over 500 films includes many banned, rarely seen, or never released works. This 2005 edition also quickly went out of print and it has not been available since. Includes Luis Buñuel, Dusan Makavejev, Luis Buñuel, Stan Brakhage, Bruce Connor, Roman Polanski, Vera Chytilova, Alfred Hitchcock, Carolee Schneemann, Peter Watkins, Tony Conrad, Jonas Mekas, Andrei Tarkovsky, Marcel Duchamp, Robert Bresson, Luchino Visconti, Chris Marker, Federico Fellini, Rainer Werner Fassbinder, Kate Millett, John Cassavettes, Shuji Terayama, William Klein, Russ Meyers, Louis Malle, Woody Allen, Yoko Ono, Michelangelo Antonioni, Agnes Varda, Walerian Borowczyk, Andy Warhol, Ingmar Bergman, Jacques Rivette, Sergei M. Eisenstein, Ingmar Bergman, Lindsay Anderson, Roberto Rossellini, Marguerite Duras, Charlie Chaplin, Paul Morrissey, Joseph Losey, Otto Muehl, Hans Richter, Fritz Lang, Jean Genet, Kenneth Anger, Maya Deren, Jean-Luc Godard, Frans Zwartjes, Arrabal, Jack Smith, Stan Vanderbeek, Werner Herzog, Morgan Fisher, Jean Renior, Michael Snow, Robert Frank, Jan Svankmajer, Sam Peckinpah, Paul Sharits, Akira Kurosawa, Yoko Ono, Orson Welles, Frederick Wiseman, Ken Jacobs, Martin Scorcese, Jean Cocteau, Manuel Octavio Gomez, Stanley Kubrick, Norman McLaren, Albert and David Maysles, to name only a few of the hundreds of film-makers featured in this essential film book. One copy via our website. #worldfoodbooks #filmasasubversiveart #toshiomatsumoto (at WORLD FOOD BOOKS)

[gazzettadimodena]

L’opera viene presentata stasera e domenica pomeriggio Grandi interpreti per i ruoli protagonisti: Martin Muehle Saioa Hernandez, Claudio Sgura http://bit.ly/2Gsuqsm

[peopleattheopera]

„We traveled all the way from poland to Berlin to meet and listen to Martin Muehle. He plays the lead role tonight. I am a young tenor myself and it is incredible to finally met him. We even brought him a special gift: A book called VOCI PARALLELE written by the legendary tenor Giacomo Lauri-Volpi. He has been searching for it for the past 20 years. We are also looking forward to the incredible production. Agnieszka is a young costumographer and the costumes in ANDREA CHENIER tonight @deutscheoperberlin are absolutly stunning. It is going to be an amazing opera night. (hier: Deutsche Oper Berlin) https://www.instagram.com/p/Bq7dVN6hgY9/?utm_source=ig_tumblr_share&igshid=ly7ju8sink0c

[puppets-and-stuff-blog]

The theme of our project is “People and Identity” and is based on the events of 1968. In order to have a better grasp on these, I looked into them.

Brief Timeline of 1968:

·         February 1, Saigon, Vietnam: The national police chief of South Vietnam, Nguyen Ngoc Loan executed Nguyen Van Lem, a Vietcong fighter. This was captured by an Associated Press Photographer, Eddie Adams. This image appeared in several newspapers along with NBC film footage and showed the brutality of the Vietnam War. They evoked moral questioned and shaped the public’s opinion about the war. Adams won a Pulitzer Prize for his image. The photo made Adams uncomfortable. He wrote in Time magazine: “The general killed the Viet Cong; I killed the general with my camera.”

·         March 28, Memphis, Tennessee, USA: Martin Luther King Jr ( American Baptist minister and activist) led a march for black sanitation workers to try to achieve some fair treatment towards them. Around 6000 people participated in the march, which turned violent and caused one death and 50 people to get injured. King left when the police got involved. This was his last march.

·         March 29, Memphis, Tennessee: Protest on Beale Street, which was caused by the civil rights movement. People wore ‘I AM A MAN’ signs.

·         April 4, Memphis, Tennessee: Martin Luther King was shot dead on one of the balconies of the Lorraine Motel.

·         April 20, Birmingham: Enoch Powell (was a British Conservative politician and member of the Parliament) delivers his “Rivers of Blood” speech at the Conservative Association meeting.

·         May, France: Student strikes.

·         June 5, Los Angeles, USA: Robert F. Kennedy (American democratic politician and lawyer) was shot at the Ambassador Hotel. He won the California presidential primaries not too long before that.

·         June 7, University of Vienna: Kunst und Revolution (Art and Revolution). Gunter Brus, Muehl, Peter Weibel and Oswald Wiener did a Actionists performance. They whipped themselves, vomited, covering themselves in their bodily fluids while singing the Austrian National Anthem.

·         August 21, Czechoslovakia: Soviet invasion to end the “Prague Spring”, the country’s political liberalization, which was led by Alexander Dubcek. This incident caused a Soviet and Communist authority in the area, ruining every economic and political reforms created by Dubcek.

.         October 2, Tlatelolco, Mexico City: “Tlatelolco Massacre”

·         October 16, Mexico City, Mexico: US athletes Tommie Smith and John Carlos did a black power salute at the Olympics, which was a brave political statement era of civil rights struggle.

·         December: Apollo 8 goes to the Moon. The famous picture “Earthrise” was taken from the Apollo 8 by William Anders on the 24th.

[connorrenwick]

The Glorious Object: 42 Artists, 42 Cubic Feet of Fantastic

A new exhibition is in town at the Patrick Parrish Gallery in New York City. Curated by artist Rodger Stevens, The Glorious Object: 42 Artists, 42 Cubic Feet of Fantastic showcases an impressive list of 42 artists and designers of various disciplines: sculpture, lighting, ceramics, textiles, woodwork and the unclassifiable. Stevens wanted to give the 6 x 7 wooden wall unit more of a spotlight after coming across it last summer on the lower level of TriBeCa art gallery. It now holds a myriad of special works, on view now through January 13, 2018.

The list of artists includes: Lindsey Adelman, Ariele Alasko, Dana Barnes, Bec Brittain, Malu Byrne, Lauren Clay, Ben Erickson, Johanna Goodman, Hiroyuki Hamada, Damien Hoar De Galvan, Doug Johnston, Sigve Knutson, Steven Haulenbeek, Tyler Hays, Cody Hoyt, Pat Kim, Kieran Kinsella, Kasper Kjeldgaard, Jason Krugman, Christopher Kurtz, Eleanor Lakelin, Chris Lehrecke, Juliana, Cerqueira Leite, Zach Martin, Christian Maychack, Richard McGuire, Abe McNally, Maria Moyer, Ted Muehling, Lauren Nauman, Brian Persico, Johnny Poux, Jeff Quinn, Katie Spragg, Rodger Stevens, Roman Aclef, Mariko Wada, Julian Watts, David Weeks, Ryosuke Yazaki, Tamara Zahaykevich and Karl Zahn.

Pat Kim, “Gate 1”

Steven Haulenbeek, “Fat Flower”

Julian Watts, “Untitled”

Rodger Stevens, “Just After a Column of Water Turned a Blaze into a Vapor”

Ariele Alasko, “Carved Link #5”

via http://design-milk.com/

from WordPress https://connorrenwickblog.wordpress.com/2018/01/02/the-glorious-object-42-artists-42-cubic-feet-of-fantastic/

[muppetydyke]

Muppet Mainstage, December 29th, 2023

“All Dressed Up” was written by Jeff Moss for a 1985 episode of Sesame Street (season 14). In the song Bert (Frank Oz) sings about dressing appropriately for winter. Bert is then joined by three Anything Muppets: a green girl (voiced by Ivy Austin, puppeteered by Brian Muehl), a lavender girl (voiced by Marilyn Sokol and puppeteered by Martin P. Robinson), and a blue boy (voiced and puppeteered by Richard Hunt). 

[muppetydyke]

Muppet Mainstage, January 29th, 2024

“Street Garden Cooperation” was written by Cheryl E. Hardwick and Maggie Bloomfield for season 15 of Sesame Street (1984). In the song a group of muppets work together to create a garden in their neighborhood. This group is led by a muppet performed by Jim Henson, with additional performances from Noel MacNeal, Martin P. Robinson, Brian Muehl, and Cheryl Blaylock. There were also additional vocals done by Ivy Austin and Tish Sommers Rabe.

[worldfoodbooks]

NEW IN THE BOOKSHOP: FILM AS A SUBVERSIVE ART by Amos Vogel (1974/2005) One of the great books on film. The original edition of Amos Vogel’s seminal book, Film as a Subversive Art was first published in 1974, and has been out of print since 1987. So ahead of his time was Vogel that the ideas that he penned in this important volume some 40 years ago are still ever relevant today. Accompanied by over 300 rare film stills, this book analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This detailed examination of over 500 films includes many banned, rarely seen, or never released works. This 2005 edition also quickly went out of print and it has not been available since. Includes Luis Buñuel, Dusan Makavejev, Luis Buñuel, Stan Brakhage, Bruce Connor, Roman Polanski, Vera Chytilova, Alfred Hitchcock, Carolee Schneemann, Peter Watkins, Tony Conrad, Jonas Mekas, Andrei Tarkovsky, Marcel Duchamp, Robert Bresson, Luchino Visconti, Chris Marker, Federico Fellini, Rainer Werner Fassbinder, Kate Millett, John Cassavettes, Shuji Terayama, William Klein, Russ Meyers, Louis Malle, Woody Allen, Yoko Ono, Michelangelo Antonioni, Agnes Varda, Walerian Borowczyk, Andy Warhol, Ingmar Bergman, Jacques Rivette, Sergei M. Eisenstein, Ingmar Bergman, Lindsay Anderson, Roberto Rossellini, Marguerite Duras, Charlie Chaplin, Paul Morrissey, Joseph Losey, Otto Muehl, Hans Richter, Fritz Lang, Jean Genet, Kenneth Anger, Maya Deren, Jean-Luc Godard, Frans Zwartjes, Arrabal, Jack Smith, Stan Vanderbeek, Werner Herzog, Morgan Fisher, Jean Renior, Michael Snow, Robert Frank, Jan Svankmajer, Sam Peckinpah, Paul Sharits, Akira Kurosawa, Yoko Ono, Orson Welles, Frederick Wiseman, Ken Jacobs, Martin Scorcese, Jean Cocteau, Manuel Octavio Gomez, Stanley Kubrick, Norman McLaren, Albert and David Maysles, to name only a few of the hundreds of film-makers featured in this essential film book. One copy via our website. #worldfoodbooks #filmasasubversiveart #lucianovisconti (at WORLD FOOD BOOKS)

[vampyrgame2017blog]

Scott Hendricks, Martin Muehle & Kiandra Louise Howarth Lead Staatsoper Hannover's 2021-22 Season - OperaWire

Scott Hendricks, Martin Muehle & Kiandra Louise Howarth Lead Staatsoper Hannover's 2021-22 Season  OperaWire from "vampyr" - Google News https://ift.tt/3c3Rqw1 via IFTTT

[peopleattheopera]

„We traveled all the way from poland to Berlin to meet and listen to Martin Muehle. He plays the lead role tonight. I am a young tenor myself and it is incredible to finally met him. We even brought him a special gift, a book called VOCI PARALLELE written by the legendary tenor Giacomo Lauri-Volpi. He has been searching for it for the past 20 years. We are also looking forward to the incredible production.“ Agnieszka is a young costumographer and the costumes in Andrea Chenier are absolutly stunning. It is going to be an amazing opera night. (hier: Deutsche Oper Berlin) https://www.instagram.com/p/Bq7c2_ghGwO/?utm_source=ig_tumblr_share&igshid=1ptcircxbdrzw