#brian futter

[lovejustforaday]

Shoegaze Classics - Ferment

Ferment - Catherine Wheel (1992)

Main Genres - Alternative Rock, Shoegaze

A decent sampling of: Noise Pop, Dream Pop

Oops, I got lazy and procrastinated the last regular "classics" review. Well, better late than never.

For my final entry on this retrospective, before I move on to my select few magnum opuses of first wave shoegaze, I wanted to cover another band that I feel I could recommend to most casual listeners of alternative rock. So today I'll be taking a closer look at the moonlit melodies of early shoegaze's gruffest band, Catherine Wheel.

The Band

Catherine Wheel formed in Great Yarmouth, U.K. in 1990.

They were probably the biggest band of the first wave not signed to Creation Records or 4AD, though Creation Records' Alan McGee certainly tried. Instead, they got signed to American label Fontana Records.

The band's lineup for the vast majority of its duration was Rob Dickinson on vocals and guitar, Dave Hawes on bass, Brian Futter on guitar, and Neil Sims on drums.

When referring to this band as "early shoegaze's gruffest band", I was especially referring to Rob Dickinson's vocals; less of the typical semi-androgynous, zoned out 20 something year old stoner dude, and more like your cool heavy metal uncle singing lullabies to you.

Rob's gentle but husky voice was often placed rather high in the mix when compared to most other shoegaze acts of the time, giving his lyrics more of a central focus. His general musings involve cerebral, abstract mystical-isms, while sometimes being the brooding, angsty kind of poet that was very much dominating the grunge music and alternative rock airwaves in the United States in the early 90s.

In fact, again I have to say that I would've expected these guys to be a lot more successful in the United States given what was happening overseas at the time. Much like Swervedriver, Catherine Wheel were a bit more hard-rocking than their other peers in the scene that celebrated itself, though not really in the same way as the former.

If Swervedriver's thing was shoegaze mixed with noise rock distortion and post-hardcore levels of intensity, then Catherine Wheel's sound was more of a kind of shoegaze rock and roll, more indebted to the hard rock of the previous few decades than other bands. A lot of their melodies have kind of a timeless feel to them.

Their sound is also distinctly nocturnal, even more so than most other shoegaze bands. Ferment and Chrome are LPs meant to be listened to on night walks and bus rides, especially the latter.

EPs happened. Then came the debut record.

The Record

Ferment is Catherine Wheel's journey into the foggiest recesses of the half-waking, half-asleep mind, with loud, opaque walls of sound and glistening electric guitars.

The production of this record has a very washed-out quality, like the entire record was given the acid wash treatment. If that's your kind of thing, you'll love this record. It certainly lends itself well to the "heavy rocking slumber" quality of Catherine Wheel's general musical aesthetic. That being said, one or two tracks here may sound a bit flat by modern production standards.

The record opens with "Texture", a menacing 6/8 splattering of radioactive glowing guitar chords creating a radiant, moonlit shoegazing mosaic. A very bold opener with possibly the most aptly titled song for a shoegazing band ever.

"I Want To Touch You" is, also true to its name, a nervously erotic track that is both enticing and surreal. There's about a hundred ways that a track with this title could go wrong and turn into failed-seriousness or something off-putting, but somehow this ends up working really well with its breezy melody and flashy guitar leads over tingling shoegaze drones. It's a certified banger.

If ever there was a song worthy of the moniker "shoegaze" in its most literal interpretation, then that song would be "Black Metallic". The drowsy-eyed, cerebral introspection of this behemoth of a song is communicated through sonic timbres of pleasantly tender abrasion, perfectly capturing what it would sound like to be quite literally lost in a labyrinth of your own thoughts while staring absently into the apparent abyss of one's own shoes. "Black Metallic" is a masterclass in evoking a state of mind for the listener through well-crafted, gorgeous guitar soundscapes. This is probably among the first two or three tracks that I'd recommend to any of the uninitiated.

Sadly, my one major gripe with this record is that it starts with the excellent three track run that I just mentioned, and then never comes close to picking up that momentum again. And at 38 minutes onward of mostly by-the-numbers shoegaze-alt. rock, the record becomes a bit of a slog to get through.

Mind you, by-the-numbers shoegaze is still something I could very comfortably put on and just vibe to, enjoying it for what it is, but the promise of the first three tracks leaves something to be desired from the rest of the record. Ferment is honestly one of the most front-loaded rock LPs that I can think of.

The title track "Ferment" is fairly transcendent for me until it gets to that effing jumpscare at two minutes and forty eight seconds in (maybe I'm exaggerating for most listeners, but that shit certainly made me jump).

Unfortunately, much like Drop Nineteens' Delaware which I reviewed much earlier on in this series, Ferment is more of a record that I recognize as a classic because of its importance to the scene and the reputation it holds versus my own personal enjoyment of the project as a whole.

I can see why this record really does it for some folks who like their shoegaze loud and heavy, and I do really love those first three tracks and "Black Metallic" in particular is probably one of my most played shoegaze tracks period, having graced me with its blissful textures on many a zero-sleep bus rides into uni after pulling an essay all-nighter (cuz I'm trash like that sometimes). But the rest of it just never lives up to what it could have been for me.

But like I said in the Drop Nineteens review, a lot of shoegazers love this record. So again, I implore you to listen and form your own opinion. All in all, this is still a solid record by my tastes, but then I'm also very biased in favour of shoegaze as a genre of music.

What Came After That?

Catherine Wheel is yet another shoegaze band that did not survive of the turn of the century, though they did release four more records in the 90s.

Truthfully, I'd definitely recommend their sophomore LP Chrome over the debut album, because I feel that it's a more fully-realized project, with a track listing that flows better and contains overall better songwriting ("Black Metallic" notwithstanding).

The only real reason why I didn't opt for covering the follow-up record instead is because I wouldn't exactly call Chrome a shoegaze record in the primary sense; more of a heavy, dreamy alternative rock record with its roots in the scene, with roughly three or four actual shoegaze tracks here and there.

After dropping three more records, Catherine Wheel disbanded in 2000. I haven't really checked the rest of the records out, but going off of the RYM genre tags at least, it would seem the band never really put out another full-on shoegaze record.

Rob Dickinson released one solo record in 2005 after the group disbanded. Nowadays, the dude seems...very much into cars? Not exactly what I would expect from the usual shoegazing crowd, but then there was that one Lush song on their last LP.

Brian and Neil went on to form their own indie band called "50ft. Monster", which funnily enough immediately calls to mind the similarly titled PJ Harvey single. Again, haven't bothered to check this out yet.

I know it may sound like I'm not a big fan of this band based on the score I end up giving this record, but I'd be lying if I said there weren't more than a few great gems in this bands discography. Both of their first two records have a small but pretty loyal following, so I'm gonna strongly recommend you check both of them out and see if either of those records tickles your fancy. Regardless, "Black Metallic" at least is basically god tier shoegaze.

7/10

Highlights: "Black Metallic", "Texture", "I Want To Touch You"

[nothing-but-music-videos]

Catherine Wheel (ft. Tanya Donelly)

"Judy Staring at the Sun"

Music video, 1995

[theaskew]

Lyrics:

Flying, show me how it feels As dreams go sinking clouds that must be real (And) losing touch of what is mine It's proving tough as steel and dull as life

Ba ba ba ba balloon Ba ba ba ba balloon Ba ba ba ba balloon Ba ba ba ba

Gliding, it cuts you down and shakes your ground I'm reeling from the height of silent sound (But) you know it always takes inside As dreams go up in Earth is lost in flight

Ba ba ba ba balloon Ba ba ba ba balloon Ba ba ba ba balloon Ba ba ba ba

Come down, come down, come down, come down, come down, come down Come down, come down, come down, come down, come down, come down

Ba ba ba ba Ba ba ba ba balloon Ba ba ba ba balloon Ba ba ba ba balloon Ba ba ba ba balloon Ba ba ba ba

Songwriters: Brian Futter / Robert Dickinson

[cultreslut]

@theamericanfriend1977 and @milfjagger tagged me to shuffle and post the first ten songs of my on repeat playlist !!!

sadness hides the sun - anika

doll parts - hole

dallas - silver jews

go down slowly - fievel is glauque

anemone - brian jonestown massacre

yu gung (futter mein ego) - einstrurzende neubaten

miss june 75 - brian jonestown massacre

ode to street hassle - spacemen 3

miss world - hole

beach bottle - i believe in sunshine

[screamingforyears]

ERRRDAY_LIKE_SUNDAZE… “It’s the colour of your skin…” “BLACK METALLIC” is the 7+ min opus from CATHERINE WHEEL’s 1992 debut album ‘Ferment’ & it has to more to do with what’s currently going on within the modern “post-punk” scene than just about anything. The UK based group, consisting of vocalist/guitarist Rob Dickinson, guitarist/vocalist Brian Futter, bassist David Hawes & drummer Neil Sims came out swinging on what would be their debut single for Fontana Records in 1991 & was by all intents/purposes the song that “broke & betrothed Catherine Wheel to the American public” “Black Metallic” is a fucking monster of a track, one that combined DreamPop, ShoeGaze & big ass AltRock into one stretched out clip of noisy six-strings, prominently thiccc baselines, large bouts of percussion & ethereally hushed vocals… that viscerally chaotic middle section to breakdown tho. “No cap,” w/out Catherine Wheel, none of the current crop of Nu/EmoGazers, AltGoths or SoftGrungers would exist in their current form.

[rainingmusic]

Catherine Wheel - Crank

[visualnoiz]

Catherine Wheel 1991  Melody Maker magazine

[towelintherain]

Adam and Eve - A Happy Birthday for a Forgotten Gem

The summer of ‘97 was a huge time for the British music scene. In May, Radiohead released OK Computer. In June, Spiritualised released Ladies and Gentleman We are Floating in Space. July saw Primal Scream release Vanishing Point, while August saw Be Here Now by Oasis and September, Urban Hymns by The Verve.

Yet, exactly 20 years ago today, in the middle of this, one of my all time favourite albums came out and has since been almost completely forgotten…Adam and Eve by Catherine Wheel.

All music fans have albums like this. We talk about how they’re underappreciated works of art. We like to show them to people and try and get them heard a little bit more. So on Adam and Eve’s 20th birthday, that’s what I’m doing.

Future Boy: https://www.youtube.com/watch?v=HuExZAqBgNE

I’ve never heard an album that sounds quite like Adam and Eve. It’s a story that evokes itself across all twelve songs, a mood set to a constantly evolving musical style that always feels like it should have just gone where it did, an album without a song to define it yet with every song being obviously from it.

The more you listen, the more you find little parts of the album revealing themselves to you, especially with Rob Dickinson’s elusive lyrics and Brian Futter’s sparkling lead guitar that feels always present but never intrusive. From the mysterious woman’s voice that appears between some tracks, the trippy intensity of Future Boy, the raw simplicity of Ma Solituda, the euphoric sadness of Satellite and the angry bliss of For Dreaming, you can hear the care and detail that went into every single note, that you’re listening to the very best album they could have made.

Delicious: https://www.youtube.com/watch?v=tRYYBBuxmuI

I think that Catherine Wheel were right up there with the very best bands of the era. I’m glad they had enough success to bring us five albums, but their songwriting alone made them deserving of so much more. While the big selling albums of the summer of '97 propelled the bands behind them into British music folklore, Catherine Wheel seemed to lose the wind from their sails and split up in 2000, while Adam and Eve has since gone out of print.

Ma Solituda: https://www.youtube.com/watch?v=FO9WfBVx9-o

Would this album have been more successful if it was released at a different time? Who knows.

Will something happen to finally bring it the attention I feel it deserves? Hopefully.

Will the band ever reform so that I can finally see them live? Come on, lads.

Thunderbird: https://www.youtube.com/watch?v=sh07p8j3Umg

There aren’t many of us, but it’s great to be a superfan of this album. It’s on Spotify at least, so why not have a listen? You might really like it too.

Happy birthday, Adam and Eve. You’re going on extra loud today.

[veale2006-blog]

LIST OF KNOWN NAMES ASSOCIATED WITH SATANIC CULTURES / PEDOPHILIA / TRAFFICKING IN CHILDREN IN AMERICA:

● Hillary Clinton

● Bill Clinton

● George Nader (businessman)

● Huma Aberdin

● Laura Silsby

● Rachel Chandler

● Jeffrey Epstein

● Ghislaine Maxwell

● John Podesta

● Michael Podesta

● James Alefantis

● Anthony Wiener

● Leslie Wexner (president of Limited Inc)

● Herbert Strauss

● Isidor Strauss

● Martin A. Nowak

● Steven Spielberg

● Edgar Bronfman Sr. (president of Seagram)

● Charles Bronfman (Seagram Co)

● Michael Steinhardt (former hedge fund manager)

● Sara Bronfman

● Clare Bronfman

● Niles Lehman (Profesor de Portland Universidad Estatal)

● Seth Roger

● Ruth Ginsberg

● Alison Mack

● Rachel Chandler

● Robert Maxwell

● Wendi Murdoch

● Jonathan Cheban

● Naomi Campbell

● Maximiliam Futter

● Val Kilmer

● Marina Abramovic

LIST OF HOLLYWOOD PEDO NAMES:

● Steven Spielberg

● Kevin Spacey

● Alison Mac

● Marc Collins-Principal (Den Founder)

● Chad Shackley

● Brock Pierce

● David Geffen

● Tom Hanks

● Dustin Hoffman

● Andrew Kreisberg (American television writer) , producer)

● Bryan Singer

Harvey Weinstein

● Bob Weinstein

● Roman Polanski

● Ruma Hazard

Charlie Sheen

● Madonna

● Kate Perry

Miley Cyrus

Errol Flynn

● Billy Graham

● Walt Disney

● Michael Laney (former vice president of Walt Disney)

● James Gunn (Disney)

LIST OF NAMES OF CELEBS ASSOCIATED WITH DEEP, CIA, AND MOSSAD:

● Heidi Fleiss

● Jeffrey Epstein

LIST OF NAMES ASSOCIATED WITH SATANIC CULTS:

● Alison Mack

● Stormy Daniels

● Rachel Chandler

● Ghislaine Maxwell

LIST OF NAMES WHO WERE VISITORS TO THE ISLAND OF EPSTEIN:

● Ghislaine Maxwell

● Chris Tucker

● Larry Summers

● Lisa Summers

● Bill Murray

Bill Hammond

Ehud Barak

● Andrés Pastrana (former president of Colombia 1998-2002)

● Jean Luc Brunel

● Doug Band

● Ron Burkle

● Woody Allen

● Sarah Kellen

Ray Barzanna

Sandy Burger

● Andrea Mitrovitch

● Peter Marino

● Shelley Lewis

● Paul Hala (t) (d) a

● Richardo Legoretta

● Tom Pritzker

● Kelly Spamm

● Tiffany Gramza

● Claire Hazel

● Paula Epstein

● Mark Epstein

● Ralph Elison

Sophie Biddle

Audrey Raimbault

● Shelley Harrison

● Melinda Luntz

● Gwendolyn Beck

Albert Pinto

● Linda Pinto

Gary Roxburgh

Mandy Elison

Jean Michelle Gathy

● Virginia Roberts

● Kristy Rodgers (Kristina Real Rodgers)

● Greg Holbert

● Alyssa Rodgers

● Juliette Bryant

● Heather Mann

● Ed Tuttle

Glen Dubin

● Ellen Spencer

● Chris Wagner

● Casey Wasserman

● Laura Wasserman

Paul Mellon

Oliver Sachs

● Henry Rosovsky

● Lynn Forester (de Rothschild)

● Joe Pagano

● Naomi Campbell

● Nicole Junkermann

● Rodney Slater

● Magali Blachon (Deperrier)

● Svetlana Griaznova

● Emmy Tayler

● Larry Visoski

● Teala Davies

● Juan (Pablo) Molyneux

● Freya Willemoes) Wissing

● Adam Perry Lang

● Fleur Perry Lang

● Caren Casey

● Hank Coller

● Cindy López

● Mark Lloyd

● Alan Dershowitz

● Seth Green

● James Gunn

● Steven Spielberg

● Tom Hanks

● Steven Colbert

● Jimmy Kimmel

Barack Obama

Kevin Spacey

Kathy Griffin

Oprah Winfrey

Shawn Carter

Beyoncé Knowles

Anthony Kiedis

● John Legend

Chrissy Tiegen

Jim Carrey

● Steven Tyler

● Ben Affleck

● Stephen Collins

● Will Ferrell

● Aliaune Damala Badara Thiam (Akon)

● Marshall Affairs

● Jeffrey Jones

● Victor Salva

● Mark Collins Principal

● Charlie Sheen

● Tyler Grasham

Madonna Ciccone

● Katheryn Hudson

● Gwen Stefani

● Stefani Germanotta

● James Franco

● Will Smith

● Justin Roland

● John Cusack

● Anderson Cooper

● Demi Moore

● Brian Affleck

Meryl Streep

● Wanda Sykes

● Chelsea Handler

● Michelle Wolf

● David Yarovesky

Pharrell Williams

Quentin Tarantino

● Courtney Love

● Alec Baldwin

● Robert Downey Jr.

● Disney Corporation (Offers children "scuba diving" trips to Epstein Island).

Epstein flight registration documents

[norikateatro]

Norikateatro’s Audio List! 💙

As of:  July 31, 2019 😄!

Please message me if you want an audio! Do not comment *If you want to trade with me that’ll be really cool!

Wicked: Chicago January 06, 2008 - Dan'yelle Williamson (Elphaba u/s); Kate Fahrner (Glinda u/s); Michael Seelbach (Fiyero); Peter Kevoian (The Wizard); K. Todd Freeman (Doctor Dillamond); Barbara Robertson (Madame Morrible); Summer Naomi Scott (Nessarose); Stanton Nash (Boq) Wicked 9 September 2008, 1NT Cast: Carmen Cusack (Elphaba), Katie Rose Clark (G(a)linda), Christopher Russo (u/s The Witch’s Father), Deedee Magno Hall (Nessa), Brad Weinstock (Boq), Myra Lucretia Taylor (Madame Morrible), Paul Slade Smith (u/s The Wizard), Clifton Hall (Fiyero) Wicked: San Francisco March 06, 2010 - Eden Espinosa (Elphaba); Libby Servais (Glinda s/b); D.J. Gregory (Fiyero u/s); Tom McGowan (The Wizard); Paul Slade Smith (Doctor Dillamond); Jody Gelb (Madame Morrible); Deedee Magno Hall (Nessarose); Etai BenShlomo (Boq) Wicked Broadway: March 3, 2013 Cast: Willemijn Verkaik (Elphaba), Alli Mauzey (Glinda), Kyle Dean Massey (Fiyero), Randy Danson (Madame Morrible), Adam Grupper (The Wizard), Catherin Charlebois (Nessarose), F. Michael Haynie (Boq), Tom Flynn (Dr Dillamond) Wicked: Broadway February 22, 2014 (Lindsay Mendez & Alli Mauzey’s Final Show) Lindsay Mendez (Elphaba), Alli Mauzey (Glinda), Kyle Dean Massey (Fiyero), Carol Kane (Madame Morrible), Tom McGowan (Wizard), Catherine Charlebois (Nessarose), Michael Wartella (Boq), Note: Lindsay, Alli, Kyle & Tom’s last performance. ​Wicked Mexico-June 20, 2014 Elenco: Viviana Barrera (u/s Elphaba), Cecilia de la Cueva (Glinda), Jorge Lau (Fiyero), Paco Morales (El Maravilloso Mago de Oz), Anahí Allué (Srita. Morrida), Marisol Meneses (Nessarosa), Sebastián Treviño (u/s Boq), Beto Torres (Dr. Dillamond), Emanuel Gáitan (Chistery). Viviana's first performance as Elphaba. Wicked: London  June 23, 2014 Cast: Emma Hatton (s/b Elphaba), Sophie Linder-Lee (s/b Glinda), Jeremy Taylor (Fiyero), Philippa Buxton (u/s Nessarose), Sam Lupton (Boq), Sue Kelvin (Madame Morrible), Martyn Ellis (The Wizard), Paul Clarkson (Dr. Dillamond). Wicked: Broadway ​January 27, 2015 Caroline Bowman (Elphaba), Kara Lindsay (Glinda), Matt Shingledecker (Fiyero), Tom McGowan (The Wizard), Kathy Fitzgerald (Madame Morrible), Alicia L. Albright (Nessarose u/s), Robin de Jesus (Boq) The Rocky Horror Picture Show: Broadway March 14th, 1975 (Soundboard) Cast:  Bill Miller (Brad Majors), Abigale Haness (Janet Weiss), Graham Jarvis (Narrator), Richard O'Brien (Riff Raff), Tim Curry (Dr. Frank-N-Furter), Jamie Donnelly (Magenta), Boni Enten (Columbia), Kim Milford (Rocky), Meat Loaf (Eddie/Dr. Scott)  Notes: This is a live recording made on March 14th, 1975 of the (very short-lived) Rocky Horror Show's original run at the Belasco Theatre on Broadway.   Cat 1991 México DF, México Cast: Marisol Arreola, Hector Arroyo, Simone Brook, Olivia Buzzio, Gabriel de Cervantes, Maru Dueñas, Cecilia Huerta, Javier Diaz Dueñas, Manuel Landeta, Armando Moreno, Enrique del Olmo, María del Sol, Fabiola Zepeda, Lenny Zundel.  Notes: Soundboard Recording  Missing Overture. This could be an audio rip from the DVD, but I'm not 100% sure. Cats London November 8th, 1995 Cast: Admetus/Macavity: Richard Armitage, Alonzo: Nunzio Lombardo, Bill Bailey: Daniel Crossley, Bombalurina: Vanessa Leagh-Hicks, Bustopher/Gus: Tony Timberlake, Carbucketty: Sandy Rass,  Cassandra: Deborah Shrimpton, Coricopat: David Olton, Demeter: Michele Hooper, Electra: Nicola Lee-Owens, Etcetera: Charlotte Peck, George/Rumpus: Steven Wayne,  Grizabella: Clare Burt, Jellylorum: Carrie Ellis, Jemima: Kimberly Partridge. Jennyanydots: Beth Robson (u/s), Mistoffelees: Thomas Paton,Mungojerrie: Ian Meeson, Munkustrap: Andrew Halliday, Old Deuteronomy: Graeme Lauren (s/b), Rumpleteazer: Vikki Coote,  Rum Tum Tugger: John Partridge, Skimbleshanks: Tommi Sliiden (u/s), Tantomile:  Tee Soo-Chan, Victor: John Stacey, Victoria: Sandra Kater ​Chicago: Broadway - 1975 8 Aug Cast-Liza Minelli (special temp. replacement - Roxie Hart), Chita Rivera (Velma Kelly), Jerry Orbach (Billy Flynn), Mary McCarty (Mama Morton), Barney Martin (Amos Hart) Cats 15 July 1998, Hamburg Cast: John Partridge (Munkustrap), Kristin Hölck (Grizabella), Stephan Drakulich (Old Deuteronomy), Ray Strachan (Rum Tum Tugger), Damian Kacperski (Mr. Mistoffelees), Lachlan Youngberg (Bustopher Mürr), Tanya Christensen (Gumbie Katz’), Marco Krämer (Skimbleshanks), Virginia Lilly (Rumpleteazer), Livio Salvi (Mungojerrie) Cats: Seoul, Korea  2008 Oct 16 Cast: 신영석 Shin Young Seok (Grizabella), 대성 Tae Seong (Rum Tum Tugger), 홍경수 Hong Kyung Soo (Munkustrap), 이희정 Lee Hui Jeong (Old Deuteronomy), 김보경 Kim Bo Kyung (Rumpleteazer), 강인영 Kang In Young (Mungogerrie), 강연종 Kang Yeon Jong (Gus), 정주영 Jeong Joo Young (Macavity), 유회웅 Yoo Hui Woong (Mr. Mistoffelees), 문병권 Moon Byung Gwon (Skimbleshanks), 왕브리타  Wang Brita (Jemima), 백두산 Baek Doo San (Alonzo), 이은혜 Lee Eun Hye (Jellylorum) Cats London: December 27th, 2014 Cats:  Broadway September 24th, 2016 Cast:  Leona Lewis (Grizabella), Tyler Hanes (Rum Tum Tugger), Ricky Ubeda (Mistoffelees), Nathan Patrick Morgan (Old Deuteronomy u/s), Eloise Kropp (Jennyanydots),  Callan Bergmann (Carbucketty u/s), Jeremy Davis (Skimbleshanks), Kim Faure (Demeter), Sara Jean Ford (Jellylorum), Lili Froehlich (Electra), Daniel Gaymon (Macavity),  Francesca Granell (Rumpleteazer  u/s), Christopher Gurr (Gus/Bustopher Jones), Andy Huntington Jones (Munkustrap), Kolton Krouse (Tumblebrutus), Jess Le Protto (Mungojerrie), Georgina Pazcougin (Victoria), Claire Camp (Cassandra u/s), Arianna Rosario (SIllabub), Ahmad Smmons (Alonzo), Christine Cornish Smith (Bombalurina), Corey Snide (Coricopat), Emily Tate (Tantomile), Sharrod Wiliams (Pouncival) Cats (1989 Original French Cast Recording) Cats (1991 Original Mexican Cast Recording)   Cabaret - Signature Theatre Washington DC - Date Unknown Cast: Wesley Taylor (Emcee), Barret Wilbert Weed (Sally), Gregory Woodell (Cliff), Rick Foucheux (Herr Schultz), Naomi Jacobson (Fraulein Schneider), Bobby Smith (Ernst), Maria Rizzo (Fraulein Kost) ​Carousel: 2018  Broadway Revival January 28th, 2018 (1st Preview) Cast: Joshua Henry as Billy Bigelow, Jessie Mueller as Julie Jordan, Lindsay Mendez as Carrie Pipperidge, Renée Fleming as Nettie Fowler, Alexander Gemignani as Enoch Snow, Amar Ramasar as Jigger, John Douglas Thompson as the Starkeeper, and Brittany Pollock as Louise Dear Evan Hansen:  Broadway - May 15, 2018 Cast: Taylor Trensch (Evan Hansen), ​Laura Dreyfuss (Zoe), Will Roland (Jared), Phoenix Best (Alana), Alex Boniello (Connor), Rachel Bay Jones (Heidi), Michael Park (Larry), Jennifer Laura Thompson (Cynthia) Notes: Alex's first show as Connor.   El Hombre de La Mancha (1969 Original Mexican Cast Recording) El Hombre de La Mancha (2017 Mexican Revival Cast Recording) Little Shop Of Horrors:  Broadway | September 16, 2003 DeQuina Moore (Chiffon), Trisha Jeffrey (Crystal), Carla J. Hargrove (Ronnette), Rob Bartlett (Mushnik), Kerry Butler (Audrey), Hunter Foster (Seymour), Michael-Leon Wooley (voice of Audrey II) ​Into the Woods National Tour (Fiasco Theater Production) 4/11/17 Ahmanson Theatre, Los Angeles Eleasha Gamble (Baker's Wife), Anthony Chatmon II (Lucinda/Wolf/Cinderella's Prince), Fred Rose (Mysterious Man), Darick Pead (Rapunzel's Prince/Florinda/Milky White), Bonne Kramer (Cinderella's Stepmother/Jack's Mother), Laurie Veldheer (Cinderella/Granny), Stephanie Umoh (The Witch), Patrick Mulryan (Jack/Steward), Evan Harrington (Baker), Lisa Helmi Johanson (Little Red Ridinghood/Rapunzel). *Includes BC/EFA Speech by Patrick Mulryan. Wicked (2016 Original Mexican Cast Recording)This was released by the official Mexican Page on Youtube. It’s a Soundboard recording of Wicked México. Sound is crystal clear, some of the songs have dialogue. Cast: Ana Cecilia Anzaldúa (Elphaba), Cecilia de la Cueva (Glinda), Jorge Lau (Fiyero), Marisol Meneses (Nessarosa). Adam Sadwing (Boq), Beto Torres (Dr. Dillamond), Anahí Allué (Senorita. Mórrida), Paco Morales (El Mago de Oz), Beto Díaz (Frexspar/ El Padre de Elphaba), Lizeth Navarro (Melena/ La Madre de Elphaba). Alicia Paola Sanchez (La Partera) Wicked - 2016.08.18 - International Tour Cast: Jodie Steele (Elphaba s/b), Elizabeth Futter (Glinda u/s), Steven Pinder (The Wizard/Dr. Dillamond), Bradley Jaden (Fiyero), Kim Ismay (Madame Morrible), Emily Shaw (Nessarose), Iddon Jones (Boq) notes: This was Elizabeth’s first show as Glinda! On Your Feet: Broadway April 1st, 2017 (Evening) Ana Villafañe (Gloria), Ektor Rivera (Emilio), Yassmin Alers (Gloria Fajardo u), Alma Cuervo (Consuelo), Amaris Sanchez (Little Gloria), Eduardo Hernadez (Young Emilio and others), Eliseo Roman (José Fajardo), Genny Lis Padilla (Rebecca) My Master: This show was great but there was a very drunk lady sitting next to me, she belted some of the lyrics to the songs! A Chorus Line:  Westchester Broadway Theatre February 3rd, 2018 (Evening) Cast: Drew Carr (Mike), Tiffany Chalothorn (Connie), Erika Conaway (Tricia), Joseph Cullinane (Greg), Kevin Curtis (Richie), Emma Degerstedt (Val), Brian Dillon (Larry), David Elder (Zach), Tim Fuchs (Al), Danielle Marie Gonzalez (Vicki),  David Grindrod (Roy), Michael John Hughes (Paul), Tyler Jimenez (Don), Emily Kelly (Maggie), Ashley Klinger Kristine), Joey Lucherini (Frank), Erica Mansfield (Cassie), Alexandra Matteo (Diana), Logan Mortier (Bobby), PJ Palmer (Mark), Lauren Sprague (Sheila), Kelsey Walston (Bebe), Caitlin Wilayton (Judy) My Master: This performance was wonderful, it had no intermission. Avenue Q 1999 Demos Anastasia: Broadway July 21, 2017 ( 8:00 PM) cast: Christy Altomare (Anya), Derek Klena (Dmitry), Mary Beth Peil (Dowager Empress Maria Feodorovna), Ramin Karimloo (Gleb), John Bolton (Vlad Popov), Caroline O'Connor (Lily), Kathryn Boswell (Countess Gregory swing) My Master Charlie and the Chocolate Factory: Broadway November 11th, 2017 (Evening) Cast: Christian Borle (Willy Wonka), Ryan Foust (Charlie Bucket), Kyle Taylor Parker (Mrs. Green), John Rubinstein (Grandpa Joe), Emily Padgett (Mrs. Bucket), Kristy Cates (Grandma Josephine), Madeleine Doherty (Grandma Georgina), Paul Slade Smith (Grandpa George), Mikey Winslow( Jerry u), Stephanie Gibson (Cherry), Kathy Fitzgerald (Mrs. Gloop), F. Michael Haynie (Augustus Gloop), Jared Bradslaw (Mr. Salt u), Emma Pfaeffle (Veruca Salt), Mr. Beauregarde (Alan H. Green), Violet Beauregarde (Trista Dollison), Michael Wartella (Mike TeaVee), Jackie Hoffman (Mrs. Teavee) (My Master) Miss Saigon:  Broadway January 14th, 2018 Cast: Eva Noblezada (Kim), Jon Jon Briones (The Engineer), Alistair Brammer (Chris), Katie Rose Clarke (Ellen), Nicholas Christopher (John), Devin Ilaw (Thuy), Dorcas Leung (Gigi) (Final Show) Mary Poppins: (2012 Mexican Cast Recording) Bianca Marroquin (Mary Poppins), Mauricio Salas (Bert), Catalina Farias (Winifred Banks), Paco Morales (George Banks), Daniela Meneses [?] (Jane Banks), Sebastián Gallegos[?] (Michael Banks) Andrés Elvira (Valentin), Mariano Bucio (Neleus), Alm Cristal (Mrs. Brill), Andrés Sáez (Robertson Ay), Laura Cortés (Ms. Andrew & Bird Woman), Sergio Carranza (Almirante Boom), Paloma Cordero (Mrs. Corry), Natalia Saltiel (Mrs. Lark), Vince Miranda, Eden Pintos, Marcela Nava, Alma Escudero, Yolanda Campos, Majo Perez, Julieta Martínez, Eduardo Ibarra, Carlos Pulido, Omar Rodríguez, Alexo Fergo, Antonio Mariscal, Alicia Paola Sánchez, Jose Sampedro, Kim Yañez, Raymundo Montoya, Óscar Hernández, Roberto Hernández, Cecilia Arias, Mariano Villarello, Marcia Peña, Ruben Plascencia, Lolo Jiménez. *Songs only. This was recorded from the soundboard from various dates throughout the run. Once on this Island: Broadway Revival January 22nd, 2018 Cast:   Hailey Kilgore (Ti Moune), Isaac Powell (Daniel), Tamyra Gray (Papa Ge), Lea Salonga (Erzulie), Norm Lewis (Agwe), Alex Newell (Asaka), Kenita R. Miller (Mama Euralie), T Oliver Reid (u/s Tonton Julian), Mia Williamson (Little Girl), Alysha Deslorieux (Andrea/Storyteller), David Jennings (Armand/Storyteller), Tyler Hardwick (u/s Beauxhommes/Storyteller). Frozen: Broadway March 4th, 2018- Cast: Alyssa Fox (s/b Elsa), Patti Murin, John Riddle, Jelani Alladin, Andrew Pirozzi, Greg HIldreth, Audrey Bennett, Brooklyn Nelson, Ann Sanders, James Brown III, Timothy Hughes, Olivia Phillip, Robert Creighton, Kevin Del Aguila Notes: Alyssa Fox’s debut as Elsa Chicago Broadway: April 1st, 2018 (Evening) Cast: Amra-Faye Wright (Velma), Charlotte d’ Amboise (Roxie), Brian O’ Brien (Fred Casey) , Evan Harrington (Amos) , Katie Mitchell (Liz), Pilar Millhollen (Annie), Donna Marie Asbury (June), Beth Johnson Nicely (Hunyak u/s), Angel Reda (Mona), Valerie Simpson (Matron “Mama” Morton), Chaz Lamar Shepherd (Billy Flynn), R. Lowe (Mary Sunshine), Jessica Ernest (Go-To-Hell Kitty)  My Master: Act 1 only (Ends towards the middle of Cell Block Tango) Kinky Boots: Broadway April 28th, 2018 Cast: Charlie Price (David Cook), Blaine Alden Krauss (Lola u), Cooper Lantz (Young Charlie), Jesús del Orden (Young Lola), Stephen Berger (Mr. Price), Eugene Barry-Hill (Simon Sr), Caroline Bowman (Nicola), Marcus Neville (George), Daniel Stewart Sherman (Don), Kirstin Maldonado (Lauren), Natalie Joy Johnson (Pat), Jake Odmark (Harry), Jennifer Perry (Trish), Ciarán Mccarthy (Richard Bailey), Adinah Alexander (Milan Stage Manager), Kevin Smith Kirkwood, Alfred Dalpino (u/s), Fred Odgaard, Kyle Post, Charlie Sutton, and Joey Taranto (Angels) My Master: Ciarán Mccarthy’s Broadway debut! Mean Girls: Broadway 6/17/2018 Cast: Erika Henningsen (Cady Heron), Becca Petersen (u/s Regina George), Ashley Park (Gretchen Wieners), Kate Rockwell (Karen  Smith), Barrett Wilbert Weed (Janis Sarkisian), Grey Henson (Damian Hubbard), Kerry Butler (Mrs. Heron/Ms. Norbury/Mrs. George), Rick Younger (Mr. Duvall), Kyle Selig (Aaron Samuels), Cheech Manohar (Kevin Gnapoor), Iain Young (u/s Mr Heron) Notes: Becca's Regina George debut Moulin Rouge: Boston Tryouts July 24th, 2018- Cast: Aaron Tveit (Christian), Karen Olivo (Satine), Danny Burstein (Harold Zidler), Sahr Ngaujah (Toulouse-Lautrec), Tam Mutu (Duke of Monroth), Ricky Rojas (Santiago), Robyn Hurder (Nini) Notes: Act I is pretty much the same but Act II has some changes. "Roxanne is now far more manic and powerful, Crazy/Rolling in the Deep has a much more desperate feel which makes the pain Christian and Satine feel much more obvious, and Come What May is restored in part to Satine's death scene." Be More Chill-​August 2, 2018 (Off Broadway) Will Roland (Jeremy Heere), George Salazar (Michael Mell), Stephanie Hsu (Christine Canigula), Jason Tam (The SQUIP), Katlyn Carlson (Chloe Valentine), Lauren Marcus (Brooke Lohst), Gerard Canonico (Rich Goranski), Tiffany Mann (Jenna Rolan), Britton Smith (Jake Dillinger), Jason "SweetTooth" Williams (Mr. Heere/Mr. Reyes/Scary Stock Boy) Once on this Island: Broadway Revival August 18th, 2018- 2:00 PM Cast:   Lauren Lott (Ti Moune), Isaac Powell (Daniel), Merle Dandridge (Papa Ge) Darlesia Cearcy (Erzulie), Quentin Earl Darrington (Agwe), Alex Newell (Asaka), Kenita R. Miller (Mama Euralie), Boise Holmes ( Tonton Julian), Mia Williamson (Little Girl), Anna Uzele (Andrea/Storyteller), David Jennings (Armand/Storyteller), and Daniel Yearwood ( Beauxhommes/Storyteller) My Master Notes: This was such an incredible show, I cried a lot! Wicked - Broadway December 1st, 2018 Cast: Jessica Vosk (Elphaba), Amanda Jane Cooper (Glinda), Ryan Mccartan (Fiyero), Jye Frasca (Boq), Kristen Martin (Nessarose), Nancy Opel (Madame Morrible), Kevin Chamberlin (The Wizard), Jamie Jackson (Dr. Dillamond), Michael Di Liberto (u/s Witch’s Father/Ozian Official), Lindsay Janisse (Witch’s Mother), Kathy Santen (Midwife), Dominic Giudici (Chistery), Ioana Alfonso, Larkin Bogan, Teneise Mitchell Ellis, Dominic Giudici, Dan Gleason, Josh Daniel Green, Jeff Heimbrock, Manuel I. Herrera, Courtney Iventosch, Lindsay Janisse, Britney Johnson, Katie Ladner, Marissa Lupp, Matt Meigs, Dashi Mitchell, Lindsay K. Northen, Jonathan Ritter, William Ryall, Kathy Santen, Hannah Shankman, Travis Taber, Jeremy Thompson (Monkeys, students, Denizens of the Emerald City, Palace Guards and Other Citizens of Oz)   User: dnc445 on Reddit’s Master Dear Evan Hansen - Broadway December 12, 2018 ​Cast: Roman Banks (u/s Evan), Lisa Brescia (Heidi Hansen), Mallory Bechtel (Zoe Murphy), Sky Lakota-Lynch (Jared Kleinman), Phoenix Best (Alana Beck), Alex Boniello (Connor Murphy), Garrett Long (u/s Cynthia Murphy), Michael Park (Larry Murphy) Roman Banks First Performance King Kong Broadway: December 13th, 2018- 2:00 PM Cast: Christiani Pitts (Ann Darrow), Eric William Morris (Carl Denham), Erik Lochtefeld (Lumpy), Rory Donovan (Captain Englehorn), Harley Jay (Barman), Casey Garvin (Fake Carl), John Hoche (Voice of Kong ) My Master: This show was really fun! James Retter Duncan (swing) and Nick Rashad Burroughs’ first show Wicked: Broadway  January 10, 2019 (Evening) Jessica Vosk (Elphaba), Brittney Johnson (u/s Glinda), Jake Boyd (Fiyero), Kevin Chamberlin (The Wizard), Nancy Opel (Madame Morrible), Jesse JP Johnson (Boq), Kristen Martin (Nessarose), Jamie Jackson (Dr. Dillamond), Michael Di Liberto as (u/s Witch's Father), Lindsay Janisse (Witch's Mother), Kathy Santen (Midwife). Master: thediaryofatheatrekid Notes: Brittney's debut as Glinda! She’s the first woman of color to portray Glinda on Broadway! Beauty and the Beast at WPPAC, White Plains, NY January 12, 2019 (Evening) Cast: Belle ( Erica Lustig), Beast (Ezekial Andrew), Gaston ( Tom DeMichele), Lefou (Robert Peterpaul), Maurice (David M. Beris), Lumiere (Patrick Pevehouse), Cogsworth (Brendan Doyle), Mrs. Potts (Paulette Oliva, Chip (Robbie Crandall),  Madame de la Grande Bouche (Katelyn Lauria) and Babette (Elizabeth Brady) My Master Wicked: Broadway March 30, 2019 (Evening) Cast: Laurel Harris (Standby Elphaba), Katie Rose Clarke (Glinda), Gizel Jimenez (Nessarose), Boq (Jesse JP Johnson), Fiyero (Ryan McCartan), Dr. Dillamond (Jamie Johnson), Madame Morrible (Nancy Opal), The Wizard (Michael McCormick), Witch's Mother (Sterling Masters), Witch's Father (William Ryall), Midwife (Kathy Santen), Chistery (Raymond Joel Matsamura) My Master Kinky Boots: Broadway April 7, 2019 (Last Show) Cast: Andy Kelso  (Charlie), J. Harrison Ghee (Lola), Carrie St. Louis (Lauren), Caroline Bowman (Nicola), Daniel Stewart Sherman (Don), Marcus Neville (George) Hadestown: Broadway July 9th, 2019 (Evening) Cast:  Reeve Carney (Orpheus), Eva Noblezada (Eurydice), Amber Gray (Persephone), Patrick Page (Hades), Andre De Shields (Hermes), Jewelle Blackman (Fate), Yvette Gonzalez-Nacer (Fate), Kay Trinidad (Fate), Afra Hines, Timothy Hughes, John Krause, Kimberly Marable, Ahmad Simmons (Workers Chorus) (My Master) Jesus Christ Superstar: July 8th 2019  Barbican Center (Regent's Park Production) Cast: Robert Tripolino (Jesus of Nazareth), Ricardo Afonso (Judas Iscariot), Sallay Garnett (Mary Magdalene), Matt Cardle (Pontius Pilate), Samuel Buttery (King Herod), Cavin Cornwall (Caiaphas), Nathan Amzi (Annas), Matthew Harvey (Peter), Tim Newman (Simon Zealotes) Graverobber’s Master Les Misérables:  London 13 July 2019 (Evening) CAST: Dean Chisnall: Jean Valjean, Bradley Jaden: Javert, Carley Stenson: Fantine, Elena Skye: Eponine, Toby Miles: Marius, Charlotte Kennedy: Cosette, Steven Meo: Thénardier, Vivien Parry: Madame Thénardier, Samuel Edwards: Enjolras Notes: The final show of the original production of Les Misérables. Includes Dean Chisnall's speech. Please gift this audio upon ​request. Instrumentals: A Chorus Line US Tour  Pit Tracks Cats Instrumental Tracks (Mortifer) A lot of the tracks are synthesized, sounds like someone took a lot of karaoke tracks and put them together with orchestra but they’re some great tracks. Cats Mexico 1991 Orchestra Tracks (Teatro Silvia Pinal) ​ ​ Cats Backing Tracks (Midi) The Wizard of Oz Orchestra Tracks (RSC’ 1981) Les Mis US Tour Orchestra Tracks ​Wicked Orchestra Tracks Notes: This album is given to cast members when they first get cast in the show. People say this orchestration is the First National Tour one but it really isn’t, it sounds much more like the LA orchestrations. Perfect quality, includes every musical interlude, underscore, song, etc.

Audio Wants: Audio of the current run of Cats in Mexico, any production of Cabaret. Anything with Wicked, Cats México or Argentina, Dear Evan Hansen, Hadestown, Once on this Island, The Wizard of Oz, and anything I don’t have!

[dipulb3]

People are calling for museums to be abolished. Can whitewashed American history be rewritten?

New Post has been published on https://appradab.com/people-are-calling-for-museums-to-be-abolished-can-whitewashed-american-history-be-rewritten/

People are calling for museums to be abolished. Can whitewashed American history be rewritten?

Written by Brian Boucher, Appradab

After years of resisting calls for its removal, New York’s American Museum of Natural History (AMNH) has asked the city to dislodge from its front steps an equestrian monument to Theodore Roosevelt, the twenty-sixth US president, which depicts him charging forward, and towering over two mostly nude figures, one Black and one Indigenous.

In a statement dated June 2020 sent to museum staff, posted on the museum’s website, Ellen Futter, president of the institution’s board, said, “As we strive to advance our institution’s, our City’s, and our country’s passionate quest for racial justice, we believe that removing the statue will be a symbol of progress and of our commitment to build and sustain an inclusive and equitable Museum community and broader society.” (After the announcement President Donald Trump tweeted, “Ridiculous, don’t do it!”)

Might this concession be a harbinger of other changes ahead for American museums? How can institutions whose leadership is often overwhelmingly White rethink their staffing, collections and exhibitions, much less move toward more truly equitable governance? Or, some ask, should museums continue to exist in anything like their current form?

The controversial statue of former President Theodore Roosevelt outside of the Museum of Natural History, featuring a Black man and a Indigenous man at his sides Credit: Spencer Platt/Getty Images North America/Getty Images

The Natural History Museum’s statement places the monument’s removal in the context of “the ever-widening movement for racial justice that has emerged after the killing of George Floyd,” a Black man who was killed by four police officers in Minneapolis, Minnesota, one of whom knelt on his neck for nearly nine minutes. After a video of Floyd’s killing went viral, tens of thousands took to the streets in protest in the US and around the world, even in the midst of a pandemic, to demand accountability for police brutality and to call for the defunding, or even the abolition of local police forces, among other demands.

The presence of an Indigenous figure in the Roosevelt monument, and the museum itself, have a very personal meaning for Wendy Red Star, an artist and member of the Crow tribe. She created a project, “The 1880 Crow Peace Delegation,” about a group of Crow chiefs who traveled to Washington, DC, that year to try to negotiate a peace treaty. In researching for the project, she found that the remains of one of those chiefs, Pretty Eagle, had been stolen from a burial site and later sold to the AMNH. The tribe was able to repatriate the remains in the 1990s.

“It wasn’t until I did this project that I learned about that,” Red Star said in a phone interview. “The Roosevelt monument was the first thing I thought of. To me, it’s a really direct connection to how my people have been presented at the museum — along with the dinosaur bones as part of the natural world. It’s always been such a surreal experience to see my community’s objects on display and watch people observing them as if these were peoples of the past.”

Just as government, law enforcement, and all forms of authority are being questioned in this moment of upheaval, museums worldwide have come in for intense scrutiny, and the situation on the ground is changing very fast. Earlier this month, dozens of current and former staffers of multiple cultural institutions, including the Metropolitan Museum, the Guggenheim Museum, and the Museum of Modern Art as well as institutions nationwide, published an open letter accusing the institutions of unfair treatment of employees of color and saying that “your covert and overt white supremacy that has benefited the institution, through the unrecognized dedication and hard labor of Black/Brown employees, with the expectation that we remain complacent with the status quo, is over.”

Apsáalooke Feminist #4, 2016, by Wendy Red Star Credit: Courtesy Wendy Red Star

Within days, staffers at the Guggenheim and the San Francisco Museum of Modern Art openly accused the institutions’ leadership of racism. In an emailed statement to Appradab, Richard Armstrong, director of the Solomon R. Guggenheim Museum and Foundation, said the institution was prepared to address these concerns:

“As a society, we are confronting sustained injustices never resolved, and feel today the pain and anger of previous moments of turmoil. The Guggenheim addresses the shared need of great reform, and long overdue equality, and want to reaffirm that we are dedicated to doing our part.

“In this period of self-reflection and reckoning, we will engage in dialogue with our staff and review all processes and procedures to lead to positive change,” he continued. “We are expediting our ongoing … efforts to produce an action plan for demonstrable progress.”

The Metropolitan Museum declined to comment. The Museum of Modern Art and the San Francisco Museum of Modern Art did not respond to requests for comment.

Museums have also been critiqued for issuing anodyne statements that failed to mention Floyd or the Black Lives Matter movement. The Getty Museum, in Los Angeles, posted an unspecific call for “equity and fairness” on Instagram, and later apologized; the director of New York’s Metropolitan Museum of Art privately apologized to Black artist Glenn Ligon for using a work of his from the museum’s holdings on social media without his permission, according to the New York Times.

Decolonize This Place protesting outside the American Museum of Natural History Credit: Andres Rodriguez/Decolonize This Place

The AMNH’s statement does not mention the groups that have for several years organized protests calling for the Roosevelt monument’s removal. In a phone interview, Decolonize This Place (DTP) organizer Amin Husain pointed out that removal of the monument was just one of three demands that Decolonize had placed on the museum, which include internally renaming Columbus Day as Indigenous People’s Day and rethinking the museum’s displays.

“Many of the museum’s galleries contain Indigenous remains and objects,” he said. “Those things need to be sent back to the people they were taken from, and the exhibitions must be completely overhauled in consultation with, and with the active participation of, the relevant stakeholders.”

While many U.S. museums have made moves toward what the field calls “diversity, equity, and inclusion,” fellow DTP organizer Marz Saffore called for much greater change. “It’s critical that we move past identity politics,” she said. “It’s not enough to hire an Indigenous curator. It’s not enough to have one Black person on your board. Museums as we know them have to be abolished. I don’t want my voice to be added to museums that are often trophy cases for Imperialism.”

Institutions like the AMNH will continue to be sites for debate, some of which may echo heated arguments among historians and activists on how to handle monuments to objectionable historical figures. This includes leaders of the Confederate Army in the US Civilw War, which were erected by Confederate sympathizers oftentimes decades after the war, with a conscious white supremacist purpose.

Some ask whether these monuments could, rather than being destroyed or removed, be altered by, for example, adding contextualizing information. In an interview with National Public Radio on Tuesday about the Roosevelt monument, historian Manisha Sinha suggested that this tribute to Roosevelt’s efforts toward nature conservation could still stand, if the subjugated Black and Indigenous figures were simply removed. (DTP pointed out in an emailed statement that the land Roosevelt “conserved” was stolen from Indigenous people, so they would hardly find that an acceptable solution.)

By contrast, Abraham Lincoln scholar Harold Holzer, former public affairs czar for the Metropolitan Museum of Art in New York and author of books including “Lincoln and the Power of the Press: The War for Public Opinion” (2014), wrote an editorial this month for the New York Daily News saying that while he had earlier asked whether Confederate monuments could be altered, he’d concluded that they must be removed. “I was not only wrong,” he wrote; “I was insensitive.”

Michael Diaz-Griffith, executive director of the Sir John Soane’s Museum Foundation, has written a pamphlet on how to be an anti-racist preservationist Credit: Michael Diaz Griffith

Michael Diaz-Griffith, executive director of the New York-based Sir John Soane’s Museum Foundation, which supports the Soane Museum in London, is author of “The Anti-Racist Preservationist’s Guide to Confederate Monuments: Their Past and a Future Without Them,” a pamphlet that succinctly explains how such monuments have a foundation in white supremacy, and outlines why they should be struck from the public realm. “In the case of the Confederates there’s no public legacy to detach from their wrongdoing,” Diaz-Griffith said over the phone.”The Confederacy was an immoral enterprise.”

Diaz-Griffith envisions a future, sooner or later, free of tributes to any such contentious figures.

“I think that all named buildings, all named places, will end up being reevaluated,” he said. “Who should they be named after? Do we continue to focus on those who were recognized in their own times, or do we shift our attention to those who fought for justice but weren’t publicly honored when they were alive? Since all people are fallible, it may be a good idea to erect monuments to principles, like justice, rather than to individuals.”

US museums, dependent as they are on the largesse of wealthy individuals and families, are far from a future in which controversial donors, who, for instance, hold views that run counter to science, nonetheless have galleries or other features named for them. The AMNH itself was under scrutiny for taking money from Rebekah Mercer, a major donor to the Republican party, whose leader Donald Trump has repeatedly denied the existence of climate change during his time in office. Mercer left the board when her term ended in 2019. Meanwhile in 2014, the Metropolitan Museum of Art named the revamped plaza on Fifth Avenue for donor David H. Koch, likewise a Republican donor, who is notable for funding efforts to undercut climate change science.

But the activists who had called for the removal of the Roosevelt monument have more foundational questions in mind than who funds such cultural organizations. Representing the group NYC Stands with Standing Rock, Sandy Grande, using the Lenape people’s name for Manhattan, said in a phone interview, “We should underscore that the city (Mannahatta) wouldn’t exist without the land and labor of Black and Indigenous peoples. This is Lenape land and the Mohawk and Seneca peoples built much of the city. In addition to Black people’s labor, their settlement at Seneca Village was destroyed.”

“So,” she said, “the removal of the monument has been a long time coming, not just for the museum but for the city itself, and we will continue to press for change.”

Makeba Clay, the Phillips Collection’s first chief diversity officer Credit: Rhiannon Newman/Courtesy Makeba Clay

“This is an historic moment — a pause and reflect moment for individuals and institutions,” said Makeba Clay, the chief diversity officer at the Phillips Collection in Washington, DC, over email. “The systemic and unrelenting injustices against members of the Black community have existed for hundreds of years and continue to exist all around us, including in our museums. We know we have work to do and that means being actively anti-racist — not passively non-racist.”

Clay was the inaugural appointee to her role, which she took on in 2018 and her message is that it’s not enough to “amplify” voices and messages, art institutions must take action. “We are looking at our staff and board, both overwhelmingly white, and actively examining our hiring and recruitment processes to promote greater diversity,” she said. “We recently held a town hall, which uncovered stark differences between staff of color and white staff.”

Clay also said that art does not exist outside struggle. That while it can be used for “constructive discourse, building empathy and creating community,” art also “can confront current issues and topics that aren’t neutral.”

Adding: “What appears like radical action is exactly what museums need to pursue to prove that they have a valuable role to play in this national discourse.”

Top image: Fall, from the series Four Seasons, 2006, by Wendy Red Star.

[oneangrygamer]

Variety Shutting Down Gaming Section On June 13th After E3

Variety Shutting Down Gaming Section On June 13th After E3 | #GetWokeGoBroke #Gaming #GamersRiseUp #WeebsRWinning #E32019

Variety has plans on axing its gaming section, consisting of Brian Crecente, and its freelancers, such as Michael Futter, once E3 wraps up. The news was kept under wraps until the editor over Variety’s gaming section, Brian Crecente, outed the news via Twitter. (more…)

[mobelmeubles-blog]

Stoff Konzentrieren: Dekorieren Mit Getreide-Säcken für die Schnelle Bauernhaus-Stil

New Post has been published on http://mobelmeubles.com/stoff-konzentrieren-dekorieren-mit-getreide-sacken-fur-die-schnelle-bauernhaus-stil/

Stoff Konzentrieren: Dekorieren Mit Getreide-Säcken für die Schnelle Bauernhaus-Stil

Quelle für das Material Vintage-Europäisches Korn-Säcke. Viel Getreide-sack-Stoff, Dekor, heute ist tatsächlich vintage-19th-century European Getreide Säcke, die wurden einem neuen Zweck zugeführt. Traditionelle Korn-Säcke sind lang und Dünn, etwa 19 cm breit und 48 cm lang. Kein Wunder, diese kräftige Säcke wurden für den Transport von Getreide auf den Markt.

alte Europäische Säcke Getreide wurden in der Regel handgewebt aus Hanf, die stark und von Natur aus schädlingsresistent. Getreide-sack-Stoff variiert in der Farbe, von off-white, beige und Grau. Europäische Säcke sind ziemlich dick und haben in der Regel Abgrenzung Markierungen – in der Regel ein Streifen oder eine Reihe von Streifen eingenäht in den Stoff. Diese Markierungen sind oft bestickt oder Schablonen. Wie HUMMER Bojen und Vieh branding, Sie optisch bedeuten die farm, von denen die Korn-Säcke entstanden. Die Kennzeichnungen dürfen für die Taschen werden an den Besitzer zurückgegeben, sobald das Korn abgeschieden.

Frisches Design Group Inc.

Antik deutschen Getreide-Säcke. Deutsch-Korn-Säcke sind als die paragon, weil Sie sind ein bisschen weicher als Ihre europäischen Pendants und auch selten, denn viele haben nicht überlebt zweiten Weltkrieg.

Deutsche Taschen sind in der Regel stenciled in ein tar-basierte schwarze Farbe mit dem Namen der farm, Besitzer und Datum. Viele von Ihnen haben auch eine Nummer auf den Sack Gesicht für inventurzwecke, von 1 bis 99. Der sack, die hier gezeigt wurde umrahmt gemacht und in Kunstwerke.

Lisa Tharp Design

Während Korn Säcke stehen im Mittelpunkt dieser Geschichte, es ist wichtig, sich bewusst sein, einige nah Verwandte Vettern. American Futter-Säcke. American Säcke wurden für eine Reihe von Produkten, wie Mehl, Zucker und Samen, und werden oft als Futter-Säcke versus Korn-Säcke. Sie sind in der Regel aus eng gewebter Baumwolle und variieren in der Dicke.

Das helle, grafische Bilder auf der Baumwolle Säcke wird in der Regel gedruckt und können dazu neigen, Bluten oder verblassen, wenn gewaschen.

Style De Vie

Sackleinen Säcke. Beutel aus sackleinen, auch bekannt als hessischen, wurden auch verwendet für den transport, vor allem Kaffee. Aber Jute ist Locker gewebt und aus jute oder sisal. Während viel zu kratzig, um sich gemütlich gegen die Haut, macht Sie für eine bezaubernde osmanische decken. Sie werden manchmal Stuhl Rücken gepolstert, bezogen mit sackleinen zu.

BRIAN PAQUETTE INTERIEUR

Wie Dekorieren Mit Getreide Säcke

Körper-Kissen. , Weil die lange, schmale Form der Säcke, eine Menge Leute machen einen ganzen sack in einen Körper-Größe Lendenkissen, wie das hier gezeigte Beispiel. Ein Band ist gemacht, um zu schließen aus dem offenen Ende.

Dies ist ein Kissen, die Sie möchten wirklich versinken, so dass, wenn Sie diesen Weg gehen, schauen Sie für einen squishy Kissen legen, mit etwas Raum zum atmen um ihn herum. Sie will nicht, dass Sie Aussehen wie eine gefüllte-Wursthüllen. Ein down-blend-insert ist ideal. Diese größeren sack-Größe Kissen haben einen herrlich ungepflegten, lässigen Auftritt.

Dehn Bloom Design

Dekorative Kissen. Wenn ordentlich ist mehr Ihr Stil sein -, Getreide-und Futtermittel-sacks funktionieren gut für kleinere Kissen. Hinzufügen mehr Interesse betrachten Sie das Spiel mit den Streifen-Platzierung in der Mitte so gut wie schief, wie in diesem Beispiel.

Shop für ähnliche Kissen

Becky Cunningham Home

Waschbecken Röcke. Ein Getreide sack ist die perfekte Größe für einen center-split-Spüle Rock. Dieser sieht wie es hängt von einem einfachen Café Stab.

Frisches Design Group Inc.

Polster. Vintage Korn-Säcke sind besser als Baumwolle Futter-Säcke für Polster, weil Sie sind dicker und haltbarer. Ihre Größe macht Sie eine Herausforderung, mit zu arbeiten, obwohl Sie in der Regel nicht breiter als 20 Zentimeter.

Ein Weg das zu umgehen, ist durch die Fokussierung auf Ihre Grenzen. Möbelhersteller Sharon Staudigel sagt für dieses Sofa, Sie stickte ein vintage-deutschen Getreide-sack neben antiken Leinen und verwendet ein kontrastreiches schwarz welt. Der Kontrast zwischen den beiden Stoffen ist Ansprechend, und dem genre angemessen.

Antonio Martins Interior Design

ein Anderer Ansatz ist zum Polstern ganz im vintage grain sack material, als war getan mit dieser schönen wingback chair. Designer Antonio Martins sagt, er verwendet drei osteuropäischen Getreide Säcke, die dieses Stück. Er fand drei Säcke mit dem gleichen hintergrund färben und ähnliche roten Details und Schweregrade. “Der nächste Schritt war die position der rot-Streifen-detail in der gesamten Stuhl”, sagt er. “Wir hatten genug material zum abdecken der Sitzfläche und Vorderseite Rückenlehne des Stuhls, immer mit dem gleichen roten Streifen. Die Streifen in den Armen ist etwas anders hat aber den gleichen rot-Ton.”

Jeder sack war ungefähr 45 Zentimeter lang (uncut) und 90 Zentimeter lang, wenn Sie geschnitten und geöffnet werden. Martins sagt, Sie müssen vorsichtig sein bei der Errechnung der Abnahmemengen, weil vintage Korn-Säcke haben oft Flecken, Stiche und Löcher, die Sie haben zu schneiden oder zu berechnen, etwa, wenn Sie für die Polsterung.

Gemütliches Ferienhaus Hussen

Hussen mit neuen Stoff. durchforsten der Welt für vintage-Säcke vielleicht nicht jedermanns Tasse Tee. Wenn die Wiederbelebung der alten Tage nicht appelliere an Sie, aber Sie mag das Aussehen von Getreide-sack material, berücksichtigen Sie Polster oder Schutzhüllen mit neuen Stoff. Im Gegensatz zu antiken Säcke, neue Stoff ist viel breiter (in der Regel 54 oder 55 Zoll), und Sie müssen nicht sorgen zu machen über die Verfärbung und arbeiten, um Löcher und schwache stellen.

Gemütliches Ferienhaus Hussen

Teresa Bennett Gemütliche Ferienhaus Hussen diese Schutzhüllen aus der neuen Leinen-Baumwoll-Mischung-Stoff, der sieht und fühlt sich ähnlich wie Getreide-sack material.

Die Bilder auf den Kissen und Hocker ist nicht aus vintage-Säcke, aber ist tatsächlich von hand Bemalte Kunstwerk von Jenni Carrino von Der Vintage Songbird, mit denen Bennett arbeitete. Carrino geschaffen, die Kunstwerk und Bennett integriert es in die Schutzhülle. “Dieser Prozess ist eine fantastische alternative für Menschen, die keinen Zugang zu echten antiken Getreide Säcke,” Carrino sagt. “Plus, die Bilder werden geboten, um den Interessen des Kunden.”

Diese Kissen wurden für einen Hausbesitzer, der liebt Wein, Käse und Schokolade. Carrino sagt, Sie verwendet die antiken Bezeichnungen als Referenz und wendet die Bildsprache auf eine speziell gewaschener Baumwolle drop-Tuch Stoff mit Annie Sloan Chalk Paint, weil es Anleihen dauerhaft mit dem Stoff. Hussen mit hand-gemalt Einsätze sollte von hand gewaschen werden.

Bennett sagt Schonbezug Möglichkeiten sind endlos, und Sie sind eine großartige Möglichkeit, um die Mischung alt geliebten Möbel mit neueren Stücken. Und der Stoff, Rock-Stil und andere design-details sind alle anpassbar. Nur stellen Sie sicher, der Stoff ist gewaschen, bevor die Schutzhülle ist hergestellt. Bennett sagt, Sie wäscht Ihre Kunden-Stoff in 4-yard-Chargen in heißem Wasser und trocknet es an einem heißen Einstellung in den Trockner zu preshrink. Sie auch Serge die Nähte, so dass die Abdeckung nicht entwirren, wenn der Kunde wäscht es in der Zukunft.

Kress Jack At Home

Kosten und Wo Kaufen Vintage Säcke und Neuen Stoff

Vintage-Säcke könnten gefunden werden in Antiquitäten-Läden, spezialisiert in der Wäsche, aber Ihre beste Wette ist, um online-Suche. Für neue Getreide-sack-inspirierten Stoff, check-out Bauernhaus Ware, welche verkauft Wiedergabe Baumwolle-poly-Acryl-Futter-sack Stoff durch den Hof, oder anderswo online.

Der Preis variiert je nach design, Klarheit, Seltenheit und Zustand, aber erwarten, zu zahlen zwischen $40 und $100 für eine Durchschnittliche vintage grain sack. Vorbildlich, seltene Säcke Holen kann noch mehr, während verblasste, abgenutzte Säcke für weniger. Manchmal finden Sie nicht verwendete Bolzen der antiken Getreide-sack-Stoff zum Verkauf, aber Sie werden wahrscheinlich haben, um den Kauf der gesamten Schraube oder Stück.

Mehr:, Wie das Arbeiten Mit einem Sattler

#AmericanSäcke, #Dekor, #DekorativeKissen, #Dekorieren, #KleinereKissen, #Polster, #StoffKonzentrieren, #TraditionelleKorn

[rainingmusic]

Catherine Wheel - Black Metallic

[catherine-wheel-blog]

Catherine Wheel: 1995 Interview with Rob and Brian

[painkillerthepigeon]

Catherine Wheel - Broken Head We FURY THINGS were daydreaming today about dream producers to work with, Gil Norton came up. The man always does a stellar job; his tracks have so much power and impact. I immediately think of his Catherine Wheel records, Chrome and Happy Days. I'm a massive fan of those sexy, drifty, intense soundscapes. As I told the FURYs, I saw them in Denver, CO, on the Happy Days tour, and they played a 20-minute version of "Black Metallic" that melted my face to the roof of my ass' rocketship. This track, from Chrome, was the first song on the CW mixtape which my friend Sean made for my car in high school.