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jubaunetwork · 3 months

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L'excitation monte alors que la 66e cérémonie annuelle des GRAMMY Awards approche à grands pas. Cette année, l'auteur-compositeur/producteur acclamé, activiste et actuel nominé aux GRAMMY, Justin Tranter, animera l'événement. La cérémonie se déroulera en direct du Peacock Theatre de Los Angeles et sera diffusée à travers le monde. Pour lancer ce spectacle spectaculaire, un numéro d'ouverture époustouflant mettra en vedette certains des artistes les plus talentueux de l'industrie musicale. Une performance d'ouverture inoubliable Le numéro d'ouverture de cette année promet d'être mémorable, avec une collaboration extraordinaire entre J. Ivy, Larkin Poe, Pentatonix, Sheila E. et Jordin Sparks. Ces artistes talentueux prendront d'assaut la scène, offrant une performance qui captivera le public et préparera le terrain pour une soirée de célébration musicale éblouissante. Découvrez les artistes programmés Outre les incroyables artistes ouvrant le spectacle, une pléiade de talents est prévue tout au long de la cérémonie. Parmi les artistes programmés figurent les nominés actuels Adam Blackstone, Brandy Clark, Kirk Franklin, Robert Glasper, Bob James, Laufey, Terrace Martin et Gaby Moreno, ainsi que l'artiste/batteur nominé aux GRAMMY Harvey Mason Sr. Les performances de ces artistes hautement acclamés promettent d'électriser le public et de rendre cette soirée inoubliable. La présence de présentateurs de renom Les présentateurs de la 66e cérémonie annuelle de première des GRAMMY Awards ne sont pas en reste. Des personnalités talentueuses telles que Patti Austin, Natalia Lafourcade, Carly Pearce, Molly Tuttle, Rufus Wainwright et Jimmy Jam auront l'honneur de prendre le micro et de présenter les gagnants de plus de 80 catégories. Le discours d'ouverture sera prononcé par Harvey Mason jr, PDG de la Recording Academy, et Tammy Hurt, présidente du conseil d'administration. Un événement sponsorisé par City National Bank Pour la deuxième année consécutive, City National Bank sera le sponsor principal de la cérémonie de première des GRAMMY Awards. Partenaire officiel des GRAMMY Awards, la banque contribue à faire de cet événement exceptionnel une réalité. Voici une liste des nominés aux Grammy Awards dans les catégories Gospel et Musique Chrétiennes Contemporaines : Meilleure Performance/Chanson Gospel Ce prix est décerné à l'artiste(s) et compositeur(s) (pour les nouvelles compositions) de la meilleure chanson ou morceau gospel traditionnel chrétien, gospel roots ou gospel contemporain. - "God Is Good" par Stanley Brown en featuring avec Hezekiah Walker, Kierra Sheard & Karen Clark Sheard ; Stanley Brown, Karen V Clark Sheard, Kaylah Jiavanni Harvey, Rodney Jerkins, Elyse Victoria Johnson, J Drew Sheard II, Kierra Valencia Sheard & Hezekiah Walker, paroliers - "Feel Alright (Blessed)" par Erica Campbell ; Erica Campbell, Warryn Campbell, Juan Winans & Marvin L. Winans, paroliers - "Lord Do It For Me (Live)" par Zacardi Cortez ; Marcus Calyen, Zacardi Cortez & Kerry Douglas, paroliers - "God Is" par Melvin Crispell III - "All Things" par Kirk Franklin ; Kirk Franklin, parolier Meilleure Performance/Chanson de Musique Chrétienne Contemporaine Ce prix est décerné à l'artiste(s) et compositeur(s) (pour les nouvelles compositions) de la meilleure chanson ou morceau de musique chrétienne contemporaine (pop, rap/hip-hop, latin ou rock). - "Believe" par Blessing Offor ; Hank Bentley & Blessing Offor, paroliers - "Firm Foundation (He Won't) [Live]" par Cody Carnes - "Thank God I Do" par Lauren Daigle ; Lauren Daigle & Jason Ingram, paroliers - "Love Me Like I Am" par for KING & COUNTRY en featuring avec Jordin Sparks - "Your Power" par Lecrae & Tasha Cobbs Leonard ; Alexandria Dollar, Jordan Dollar, Antonio Gardener, Micheal Girgenti, Lasanna "Ace" Harris, David Hein, Deandre Hunter, Dylan Hyde, Christian Louisana, Patrick Darius Mix Jr., Lecrae Moore, Justin Pelham, Jeffrey Lawrence Shannon, Allen Swoope, paroliers - "God Problems" par Maverick City

Music, Chandler Moore & Naomi Raine ; Daniel Bashta, Chris Davenport, Ryan Ellis & Naomi Raine, paroliers Meilleur Album Gospel Pour les albums contenant plus de 75% de musique vocale enregistrée récemment gospel traditionnel ou gospel contemporain/R&B. - "I Love You" par Erica Campbell - "Hymns (Live)" par Tasha Cobbs Leonard - "The Maverick Way" par Maverick City Music - "My Truth" par Jonathan McReynolds - "All Things New: Live In Orlando" par Tye Tribbett Meilleur Album de Musique Chrétienne Contemporaine Pour les albums contenant plus de 75% de musique vocale enregistrée récemment de musique chrétienne contemporaine, incluant pop, rap/hip-hop, latin ou rock. - "My Tribe" par Blessing Offor - "Emanuel" par Da' T.R.U.T.H. - "Lauren Daigle" par Lauren Daigle - "Church Clothes 4" par Lecrae - "I Believe" par Phil Wickham Meilleur Album Gospel Roots Pour les albums contenant plus de 75% de musique vocale enregistrée récemment de gospel traditionnel/roots, incluant country, Southern gospel, bluegrass et Americana. - "Tribute To The King" par The Blackwood Brothers Quartet - "Echoes Of The South" par Blind Boys Of Alabama - "Songs That Pulled Me Through The Tough Times" par Becky Isaacs Bowman - "Meet Me At The Cross" par Brian Free & Assurance - "Shine: The Darker The Night The Brighter The Light" par Gaither Vocal Band La cérémonie de première des 66e GRAMMY Awards s'annonce comme une soirée inoubliable. Les performances, les présentateurs et les nominés seront réunis pour célébrer une année musicale exceptionnelle. Ne manquez pas cette soirée incroyable, diffusée en direct le dimanche 4 février sur le réseau de la Recording Academy et sur live.GRAMMY.com. Préparez-vous à être éblouis et à applaudir les lauréats de cette cérémonie musicale légendaire. Source de l'information Suivez-nous sur Facebook Autres liens: Le premier livre de Tasha Cobbs Leonard: Do It Anywhere: Don’t Give Up Before It Gets Good #gospel #music #worship #praise #news #musique #évangélique #actualités #bgospelmagazine #bgospel

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idlesuperstar · 7 years

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Charles Laughton as Inspector Maigret, alongside Franchot Tone and Burgess Meredith in The Man On The Eiffel Tower [1950], the first american film shot in colour (AnscoColor) in Paris.

[Laughton] found it impossible to work with Irving Allen, the designated director, so Franchot Tone, whose company was making the film, decided to attempt a bold experiment in co-operative film-making: the actors would take over. Burgess Meredith would take overall responsibility and direct all the scenes he wasn’t in; Charles would direct all the scenes he wasn’t in and Tone would do anything left over.

The director of photography was Stanley Cortez, Orson Welles’ cameraman on The Magnificent Ambersons, and he must have offered advice to all three tyro directors...’Everybody left Paris to catch a ship, leaving me and Charles behind to do the finishing sequences. That’s when I got to thinking Charles would make a good director,’ wrote Cortez later. ‘I saw Paris through his eyes, all of Paris; and he knew Paris better than most Frenchmen.’ - Simon Callow, Charles Laughton - A Difficult Actor.

#charles laughton #burgess meredith #franchot tone #the man on the eiffel tower #simon callow thinks this is one of charles' worst performances #well let me tell you he is wrong #he's great in it #and the film looks amazing all the reds I don't know why ansco color looks different than technicolor but it does #who knew burgess meredith had such red hair #stanley cortez rocks #esp as he rated charles and orson as the best directors he ever worked with #new to me 2017 #*NF17 #my wee gifs

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slowlyteenagestarlight · 2 years

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blackkudos · 4 years

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Carl Hancock Rux

Carl Hancock Rux (born March 24, 1975) is an American poet, playwright, novelist, essayist, actor, director, singer/ songwriter. He is the author of several books including the Village Voice Literary Prize-winning "Pagan Operetta," the novel, Asphalt, and the Obie Award-winning play, Talk. Rux is also a singer/songwriter with four CDs to his credit, as well as a frequent collaborator in the fields of dance, theater, film, and contemporary art . Notable collaborators include Nona Hendryx, Toshi Reagon, Bill T. Jones, Ronald K. Brown, Nick Cave, Anne Bogart, Robert Wilson, Kenny Leon, Ruben Santiago-Hudson, Jonathan Demme, Stanley Nelson Jr., Carrie Mae Weems, Glenn Ligon and others. He is the recipient of numerous awards including the Doris Duke Award for New Works, the Doris Duke Charitable Fund, the New York Foundation for the Arts (NYFA) Prize, the Bessie Award and the Alpert Award in the Arts, and a 2019 Global Change Maker award by WeMakeChange.Org. . His archives are housed at the Billy Rose Theater Division of the New York Public Library, the Archives of American Art, Smithsonian Institution as well as the Film and Video/Theater and Dance Library of the California Institute of the Arts.

Early life

Rux was born Carl Stephen Hancock in Harlem, New York. His biological mother, Carol Jean Hancock, suffered from chronic mental illness, was diagnosed paranoid schizophrenic, and was institutionalized shortly after the birth of his older brother. Rux was born the result of an illegitimate pregnancy (while his mother was under the care of a New York City psychiatric institution) and the identity of Rux's biological father is unknown. Rux was placed under the guardianship of his maternal grandmother, Geneva Hancock (née Rux), until her death of cirrhosis of the liver due to alcoholism. At four years of age he entered the New York City foster care system where he remained until he was eventually placed under the legal guardianship of his great uncle (grandmother's brother) James Henry Rux and his wife Arsula (née Cottrell) and raised on a step street in the Highbridge section of the Bronx, later used as the filming location for the stairway dance scene in the 2019 film Joker.

Rux attended PS 73, Roberto Clemente Junior High School and received a scholarship to the Horace Mann School, an independent Ivy college preparatory school in the Riverdale section of the Bronx before transferring to the Fiorello H. LaGuardia High School of Music & Art and Performing Arts where he studied visual art. Exposed to jazz music by his legal guardians, including the work of Oscar Brown Jr., John Coltrane, Billie Holiday, Miles Davis, Max Roach and Abbey Lincoln, Rux eventually double-majored in music/voice, and sang with the Boys Choir of Harlem. He also became a member of the Harlem Writers Workshop, a summer journalism training program for inner-city youth founded by African-American journalists, sponsored by Columbia University and The Xerox Corporation. At the age of 15, Rux was legally adopted by his guardians and his surname changed to Rux. Upon graduation from high school he entered Columbia College where he studied in the Creative Writing Program; took private acting classes at both HB studios; and trained with Gertrude Jeanette's Hadley Players as well as actor Robert Earl Jones (father of actor James Earl Jones). Rux continued his studies at Columbia University, American University of Paris, as well as the University of Ghana at Legon.

Career

Working as a Social Work Trainer while moonlighting as a freelance art and music critic, Rux became a founding member of Hezekiah Walker's Love Fellowship gospel choir and later found himself influenced by the Lower East Side poetry and experimental theater scene, collaborating with poets Miguel Algarin, Bob Holman, Jayne Cortez, Sekou Sundiata, Ntozake Shange; experimental musicians David Murray, Mal Waldron, Butch Morris, Craig Harris, Jeanne Lee, Leroy Jenkins as well as experimental theater artists Laurie Carlos, Robbie McCauley, Ruth Maleczech, Lee Breuer, Reza Abdoh and others.

He is one of several poets (including Paul Beatty, Tracie Morris, Dael Orlandersmith, Willie Perdomo, Kevin Powell, Maggie Estep, Reg E. Gaines, Edwin Torres and Saul Williams) to emerge from the Nuyorican Poets Cafe, most of whom were included in the poetry anthology Aloud, Voices From the Nuyorican Poets Cafe, winner of the 1994 American Book Award. His first book of poetry, Pagan Operetta, received the Village Voice Literary prize and was featured on the weekly's cover story: "Eight Writers on the Verge of (Impacting) the Literary Landscape". Rux is the author of the novel Asphalt and the author of several plays. His first play, Song of Sad Young Men (written in response to his older brother's death from AIDS), was directed by Trazana Beverly and starred actor Isaiah Washington. The play received eleven AUDELCO nominations. His most notable play is the OBIE Award-winning Talk, first produced at the Joseph Papp Public Theater in 2002. Directed by Marion McClinton and starring actor Anthony Mackie, the play won seven OBIE awards.

Rux is also a recording artist, first featured on Reg E. Gaines CD Sweeper Don't Clean My Streets (Polygram). As a musician, his work is known to encompass an eclectic mixture of blues, rock, vintage R&B, classical music, futuristic pop, soul, poetry, folk, psychedelic music and jazz. His debut CD, Cornbread, Cognac & Collard Green Revolution (unreleased) was produced by Nona Hendryx and Mark Batson, featuring musicians Craig Harris, Ronnie Drayton and Lonnie Plaxico. His CD Rux Revue was recorded and produced in Los Angeles by the Dust Brothers, Tom Rothrock and Rob Schnapf. Rux recorded a follow up album, Apothecary Rx, (selected by French writer Phillippe Robert for his 2008 publication "Great Black Music": an exhaustive tribute of 110 albums including 1954's "Lady Sings The Blues" by Billie Holiday, the work of Jazz artists Oliver Nelson, Max Roach, John Coltrane, rhythm and blues artists Otis Redding, Ike & Tina Turner, Curtis Mayfield, George Clinton; as well as individual impressions of Fela Kuti, Jimi Hendrix, and Mos Def.) His fourth studio CD, Good Bread Alley, was released by Thirsty Ear Records, and his fifth "Homeostasis" (CD Baby) was released in May 2013. Rux has written and performed (or contributed music) to a proportionate number of dance companies including the Alvin Ailey American Dance Theater; Bill T. Jones/Arnie Zane Dance Company; Jane Comfort & Co. and Ronald K. Brown's "Evidence" among others.

Literature

Books by author

Elmina Blues (poetry)

Pagan Operetta (poetry/Short Fiction/SemioText)

Asphalt (novel/Simon & Schuster)

Talk (drama/TCG Press)

Literary fiction

Asphalt (novel) (Atria, Simon & Schuster)

The Exalted (novel) forthcoming

Selected plays

Song of Sad Young Men

Talk

Geneva Cottrell, Waiting for the Dog to Die

Smoke, Lilies and Jade

Song of Sad Young Men

Chapter & Verse

Pipe

Pork Dream in the American House of Image

Not the Flesh of Others

Singing In the Womb of Angels

Better Dayz Jones (Harlem Stage)

"Stranger On Earth" (Harlem Stage)

The (No) Black Male Show

Mycenaean

Asphalt (directed by Talvin Wilkes)

Etudes for the Sleep of Other Sleepers (directed by Laurie Carlos)

Steel Hammer (co-written by Will Power, Kia Cothran and Regina Taylor for the SITI company, directed by Anne Bogart).

The Exalted (directed by Anne Bogart)

NPR Presents WATER ± (co-written by Arthur Yorinks, directed by Kenny Leon)

Selected essays

"Eminem: The New White Negro

"Dream Work and the Mimesis of Carrie Mae Weems"

"Belief and the Invisible Playwright"

"In Memoriam: Ruby Dee (1922–2014)"

"Up From The Mississippi Delta"

"Democratic Vistas of Space and Light"

"A Rage In Harlem"

Selected anthologies

Experiments in a Jazz Aesthetic: Art, Activism, Academia, and the Austin Project University of Texas Press

Soul: Black Power, Politics, and Pleasure NYU Press

Heights of the Marvelous NYU Press

Juncture: 25 Very Good Stories and 12 Excellent Drawings Soft Skull Press

Da Capo Best Music Writing 2004: The Year's Finest Writing on Rock, Hip-hop, Jazz, Pop, Country, and More, DeCapo Press

Words in Your Face: A Guided Tour Through Twenty Years of the New York City Poetry Slam, Counterpoint Press

Humana Festival 2014: The Complete Plays, Playscripts, Incorporated

Action: The Nuyorican Poets Cafe Theatre, Simon & Schuster

Bum Rush the Page: A Def Poetry Jam, Three Rivers Press

The African American Male, Writing, and Difference: A Polycentric Approach to African American Literature, Criticism, and History, State University of New York Press

Meditations and Ascensions: Black Writers on Writing, Third World Press

Plays from the Boom Box Galaxy: Theater from the Hip-hop Generation, Theatre Communications Group

Bad Behavior, Random House

Verse: An Introduction to Prosody, John Wiley & Sons Press

Significations of Blackness: American Cinema and the Idea of a Black Film, UMI Press

So Much Things to Say: 100 Poets from the First Ten Years of the Calabash International Literary Festival, Akashic Books

Black Men In Their Own Words, Crown Publishers

Bulletproof Diva, Knopf Doubleday

Race Manners: Navigating the Minefield Between Black and White Americans, Skyhorse Publishing

In Their Company: Portraits of American Playwrights, Umbrage Press

Listen Again: a Momentary History of Pop Music, Duke University Press

Journalism

Rux has been published as a contributing writer in numerous journals, catalogs, anthologies, and magazines including Interview magazine, Essence magazine, The New York Times, the Los Angeles Times, aRude Magazine, Nka Journal of Contemporary African Art (founded by fellow art critics Okwui Enwezor, Chika Okeke-Agulu and Salah Hassan) and American Theater Magazine.

Libretti

Makandal (music by Yosvaney Terry, stage design and costumes by Edouard Duval Carrie, directed by Lars Jan) Harlem Stage

Blackamoor Angel (music by Deidre Murray; directed by Karin Coonrod) Bard Spiegeltent/Joseph Papp Public Theater

Kingmaker (music by Toshi Reagon) BRIC Arts Media

Perfect Beauty" (music by Tamar Muskal)

Music

Solo albums

Cornbread, Cognac, Collard Green Revolution

Rux Revue Sony/550 Music

Apothecary Rx Giant Step

Good Bread Alley Thirsty Ear

Homeostasis CD Baby

Singles

"Miguel" (Sony) 1999

"Wasted Seed" (Sony) 1999

"Fall Down" (Sony) 1999

"No Black Male Show" (Sony) 1999

"Good Bread Alley" (Thirsty Ear) 2006

"Thadius Star" (Thirsty Ear) 2006

"Living Room" (Thirsty Ear) 2006

"Disrupted Dreams" (Giant Step) 2010

"Eleven More Days" (Giant Step) 2010

"I Got A Name" (Giant Step) 2010

"Living Room" (Kevin Shields Remix) (Mercury) 2013

12-inch singles

"Lamentations (You, Son)" Giant Step Records

Carl Hancock Rux Live at Joe's Pub (forthcoming)

Collaborations

Sweeper Don't Clean My Streets Reg E. Gaines Polygram

Eargasms Vol. 1

70 Years Coming R. L. Burnside Bongload/Acid Blues Records

Our Souls Have Grown Deep Like the Rivers: Black Poets Read Their Works, Rhino

Bow Down to the Exit Sign David Holmes Go! Beat

Love Each Other Yukihiro Fukutomi Sony/ Japan

Optometry DJ Spooky Thirsty Ear Recordings

The Temptation of Saint Anthony (Studio Cast Recording)

Inradio 5 Morningwatch 2004

Thirsty Ear Presents: Blue Series Sampler (Thirsty Ear)

Poetry on Record: 98 Poets Read Their Work, 1888-2006 Box Set Shout! Factory (2006)

More Than Posthuman-Rise of the Mojosexual Cotillion Burnt Sugar The Arkestra Chamber, TruGROID

The Dogs Are Parading David Holmes Universal

Life Forum Gerald Clayton Concord Jazz

Tributary Tales Gerald Clayton

Tomorrow Comes The Harvest Jeff Mills Tony Allen Decca Records

Humanist Rob Marshall Ignition Records

Songwriter

Mckay Stephanie McKay Universal Music

Contemporary Dance (text & music)

Movin' Spirits Dance Co.

Kick The Boot, Raise the Dust An' Fly; A Recipe for Buckin (chor: Marlies Yearby, co-authors: Sekou Sundiata, Laurie Carlos, music: Craig Harris ) Performance Space 122, Maison des arts de Créteil (France)

Totin' Business & Carryin' Bones (chor. Marlies Yearby), Performance Space 122, Maison des arts de Créteil (France)

The Beautiful (chor: Marlies Yearby, co-author:Laurie Carlos), Judson Church, Tribeca Performing Arts Center

Of Urban Intimacies (chor: Marlies Yearby), Lincoln Center Serious Fun!, Central Park Summerstage, National Tour

That Was Like This/ This Was Like That(chor: Marlies Yearby, music: Grisha Coleman), Tribeca Performing Arts Center, Central Park Summerstage, National Tour

Anita Gonzalez

Yanga, (chor: Anita Gonzalez, music: Cooper-Moore, composer), Tribeca Performing Arts Center, Montclair State College

Jane Comfort & Co.

Asphalt (dir/chor: Jane Comfort; vocal score: Toshi Reagon, music: DJ Spooky, David Pleasant, Foosh, dramaturgy: Morgan Jenness, costumes: Liz Prince, lighting design: David Ferri ), Joyce Theater, National Tour

Urban Bush Women

Soul Deep (chor: Jawole Willa Jo Zollar, composer: David Murray), Walker Arts Center, National Tour

Shelter (chor: Jawole Willo Jo Zollar, music: Junior Gabbu Wedderburn) International Tour

Hair Stories (chor: Jawole Willa jo Zollar) BAM Theater/Esplanade Theater (Singapore) Hong Kong Arts Festival

Jubilation! Dance Co.

Sweet In The Morning (chor: Kevin Iega Jeff)

Alvin Ailey American Dance Theater

Shelter (chor: Jawole Willo Jo Zollar, music: Junior Gabbu Wedderburn) City Center, International Tour

Uptown (chor: Matthew Rushing) Alvin Ailey American Dance Theater

Four Corners (chor: Ronald K. Brown) Alvin Ailey American Dance Theater 2014

Alvin Ailey Repertory Ensemble (Ailey II)

Seeds (chor: Kevin Iega Jeff) Aaron Davis Hall, Apollo Theater, National Tour

Bill T. Jones/Arnie Zane Dance Theater

The Artificial Nigger (chor: Bill T. Jones) Arnie Zane Bill T. Jones Dance Co; music: Daniel Bernard Roumain National Tour

Roberta Garrison Co.

Certo! (chor: Roberta Garrison, music: Mathew Garrison) Scuola di Danza Mimma Testa in Trastevere (Rome, Italy) Teatro de natal infantil Raffaelly Beligni (Naples, Italy)

M'Zawa Dance Co.

Seeking Pyramidic Balance/Flipmode (chor: Maia Claire Garrison) 651 Arts

Robert Moses Kin

Helen (chor: Robert Moses) Yerba Buena Performing Arts Center

Nevabawarldapece (chor: Robert Moses) Yerba Buena Performing Arts Center

Topaz Arts Dance

Dreamfield (chor: Paz Tanjuaquio) Hudson River Park NY

Actor

Theater

Rux studied acting at the Hagen Institute (under Uta Hagen); the Luleå National Theatre School (Luleå, Sweden) and at the National Theater of Ghana (Accra). Rux has appeared in several theater projects, most notably originating the title role in the folk opera production of The Temptation of St. Anthony, based on the Gustave Flaubert novel, directed by Robert Wilson with book, libretto and music by Bernice Johnson Reagon and costumes by Geoffrey Holder. The production debuted as part of the Ruhr Triennale festival in Duisburg Germany with subsequent performances at the Greek Theater in Siracusa, Italy; the Festival di Peralada in Peralada, Spain; the Palacio de Festivales de Cantabria in Santander, Spain; Sadler's Wells in London, Great Britain; the Teatro Piccinni in Bari, Italy; the Het Muziektheater in Amsterdam, Netherlands; the Teatro Arriaga in Bilbao and the Teatro Espanol in Madrid, Spain. The opera made its American premiere at the Brooklyn Academy of Music / BAM Next Wave Festival in October 2004 and official "world premiere" at the Paris Opera, becoming the first all-African-American opera to perform on its stage since the inauguration of the Académie Nationale de Musique - Théâtre de l'Opéra. Combining both his dramatic training and dance movement into his performance, Rux's performance was described by the American press as having "phenomenal charisma and supreme physical expressiveness...(achieving) a near-iconic power, equally evoking El Greco's saints in extremis and images of civil rights protesters besieged by fire hoses." Rux has also appeared in several plays and performance works for theater, as well as in his own work.

Film/Television

Radio

Carl Hancock Rux was the host and artistic programming director of the WBAI radio show, Live from The Nuyorican Poets Cafe; contributing correspondent for XM radio's The Bob Edwards Show and frequent guest host on WNYC as well as NPR and co-wrote and performed in the national touring production of NPR Presents Water±, directed by Kenny Leon.

Performance Art Exhibitions/Curator

The Whitney Museum "Beat Culture and the New America, 1950-1965"

Solomon R. Guggenheim Museum "Carrie Mae Weems: Live"

Thread Waxing Space "Sacred Music"

The Foundry Theater "Roundtable on Hope"

The Kitchen "Sapphire: Black Wings & Blind Angels"

Harlem Stage "We Da People Cabaret"

The New School "Comrades and Lovers" Glenn Ligon

Mass MoCA "Until" Nick Cave

Kennedy Center/Spoleto Festival "Grace Notes"; Carrie Mae Weems

Grace Farms "Past Tense"; Carrie Mae Weems

Selected Directorial Credits

"Chapter & Verse" by Carl Hancock Rux /Dixon Place; Nuyorican Poets Cafe

"Mycenaean" by Carl Hancock Rux CalArts/BAM Next Wave Festival

"Third Ward" by Tish Benson/Nuyorican Poets Cafe

"Girl Group" by Tish Benson, Latasha Nevada Diggs, Sarah Jones/Aaron Davis Hall

"Stranger On Earth" by Carl Hancock Rux/ Live Arts; Harlem Stage

"Poesia Negra" by Carl Hancock Rux /RedCat; Lincoln Center; Aaron Davis Hall; BAM Next Wave. *"Who 'Dat Who Killed Better Days Jones?" by (Various Artists)/ Aaron Davis Hall

"blu" by Virginia Grise/ New York Theatre Workshop

"Welcome to Wandaland" by Ifa Bayeza/ Rights & Reasons Theater/Brown University

"String Theory" by Ifa Bayeza/ Rights & Reasons Theater, Brown University

"Bunky Johnson Out of The Shadows" by Ifa Bayeza/Shadows on the Teche

Academia

Rux is formally the Head of the MFA Writing for Performance Program at the California Institute of Arts and has taught and or been an artist in residence at Brown University, Hollins University, UMass at Amhurst, Duke University, Stanford University, University of Iowa, University of Wisconsin at Madison, and Eugene Lang New School for Drama, among others.

He has mentored award-winning writers including recipients of the Yale Drama Prize, Whiting Writers Award, Princess Grace Award, and BBC African Performance Playwriting Award.

Personal life

Rux's great uncle, Rev. Marcellus Carlyle Rux (January 8, 1882 - January 5, 1948) was a graduate of Virginia Union University, and principal of The Keysville Mission Industrial School (later changed to The Bluestone Harmony Academic and Industrial School), a private school founded in 1898 by several African-American Baptist churches in Keysville Virginia at a time when education for African-Americans was scarce to non-existent. For about 50 years the school had the largest enrollment of any black boarding school in the east and sent a large number of graduates on to college. For the first five years, Marcellus Carlyle Rux was a teacher in the institution. Such was the record he made that he was promoted to the principalship in 1917. Under his administration, the school reached its highest enrollment and had its greatest period of prosperity. The post-Civil war school was one of the first of its kind in the nation and was permanently closed in 1950. The school's still existent structure once featured a girl's and boy's dormitory and President's dwelling and is eligible for listing on the National Register of Historic Places. Marcellus Carlyle Rux is listed in History of the American Negro and his Institutions.

Rux's younger brother is a New York City Public School Teacher and his cousin a New York City middle school principal. Rux's older brother died of AIDS-related complications.

Rux's home, a Victorian Brownstone in the Fort Greene Brooklyn section of New York City, has been photographed by Stefani Georgani and frequently featured in home decor magazines and coffee table books internationally, including Elle Decor UK.

Activism

Rux joined New Yorkers Against Fracking, organized by singer Natalie Merchant, calling for a fracking ban on natural gas drilling using hydraulic fracturing. A concert featuring Rux, Merchant, actors Mark Ruffalo and Melissa Leo and musicians Joan Osborne, Tracy Bonham, Toshi Reagon, Citizen Cope, Meshell Ndegeocello and numerous others was held in Albany, N.Y., and resulted in public protests.

Rux was a co-producer (through a partnership between MAPP International and Harlem Stage) and curator of WeDaPeoples Cabaret, an annual event regarding citizens without borders in a globally interdependent world. A longtime resident and homeowner in Fort Greene Brooklyn, Carl Rux worked with the Fort Greene association and New York philanthropist Barbaralee Diamonstein-Spielvogel to erect a cultural medallion at the Carlton Avenue home where novelist Richard Wright lived and penned his seminal work, Native Son. Rux is a member of Take Back the Night, a foundation seeking to end sexual assault, domestic violence, dating violence, sexual abuse and all other forms of sexual violence.

Honors, awards, and grants

Rux was featured in Interview Magazine's "One To Watch" and New York Times Magazine's "Thirty Under Thirty". His essay Eminem: The New White Negro was selected for Da Capo's Best Music Writing 2004. Rux's radio documentary "Walt Whitman: Songs of Myself" was awarded the New York Press Club Journalism award for Entertainment News.

#03/24

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psychodollyuniverse · 5 years

Quote

How Stanley Kubrick Staged the Moon Landing By Rich Cohen July 18, 2019 Conspiracy In his new monthly column, Conspiracy, Rich Cohen gets to the bottom of it all. 2001: A Space Odyssey Have you ever met a person who’s been on the moon? There are only four of them left. Within a decade or so, the last will be dead and that astonishing feat will pass from living memory into history, which, sooner or later, is always questioned and turned into fable. It will not be exactly like the moment the last conquistador died, but will lean in that direction. The story of the moon landing will become a little harder to believe. I’ve met three of the twelve men who walked on the moon. They had one important thing in common when I looked into their eyes: they were all bonkers. Buzz Aldrin, who was the second off the ladder during the first landing on July 20, 1969, almost exactly fifty years ago—he must have stared with envy at Neil Armstrong’s crinkly space-suit ass all the way down—has run hot from the moment he returned to earth. When questioned about the reality of the landing—he was asked to swear to it on a Bible—he slugged the questioner. When I sat down with Edgar Mitchell, who made his landing in the winter of 1971, he had that same look in his eyes. I asked about the space program, but he talked only about UFOs. He said he’d been wrapped in a warm consciousness his entire time in space. Many astronauts came back with a belief in alien life. Maybe it was simply the truth: maybe they had been touched by something. Or maybe the experience of going to the moon—standing and walking and driving that buggy and hitting that weightless golf ball—would make anyone crazy. It’s a radical shift in perspective, to see the earth from the outside, fragile and small, a rock in a sea of nothing. It wasn’t just the astronauts: everyone who saw the images and watched the broadcast got a little dizzy. July 20 1969, 3:17 P.M. E.S.T. The moment is an unacknowledged hinge in human history, unacknowledged because it seemed to lead nowhere. Where are the moon hotels and moon amusement parks and moon shuttles we grew up expecting? But it did lead to something: a new kind of mind. It’s not the birth of the space age we should be acknowledging on this fiftieth anniversary, but the birth of the paranoia that defines us. Because a man on the moon was too fantastic to accept, some people just didn’t accept it, or deal with its implications—that sea of darkness. Instead, they tried to prove it never happened, convince themselves it had all been faked. Having learned the habit of conspiracy spotting, these same people came to question everything else, too. History itself began to read like a fraud, a book filled with lies. To understand America, you can start with Apollo 11 and all that is counterfactual that’s grown around it; that’s when the culture of conspiracy, which is the culture of Donald Trump and fake news, was born. * The stories of a hoax predate the landing itself. As soon as the first capsules were in orbit, some began to dismiss the images as phony and the testimony of the astronauts as bullshit. The motivation seemed obvious: John F. Kennedy had promised to send a man to the moon within the decade. And, though we might be years behind the Soviets in rocketry, we were years ahead in filmmaking. If we couldn’t beat them to moon, we could at least make it look like we had. Most of the theories originated in the cortex of a single man: William Kaysing, who’d worked as a technical writer for Rocketdyne, a company that made engines. Kaysing left Rocketdyne in 1963, but remained fixated on the space program and its goal, which was often expressed as an item on a Cold War to-do list—go to the moon: check—but was in fact profound, powerful, surreal. A man on the moon would mean the dawn of a new era. Kaysing believed it unattainable, beyond the reach of existing technology. He cited his experience at Rocketdyne, but, one could say he did not believe it simply because it was not believable. That’s the lens he brought to every NASA update. He was not watching for what had happened, but trying to figure out how it had been staged. There were six successful manned missions to the moon, all part of Apollo. A dozen men walked the lunar surface between 1969 and 1972, when Harrison H. Schmitt—he later served as a Republican U.S. Senator from New Mexico—piloted the last lander off the surface. When people dismiss the project as a failure—we never went back because there is nothing for us there—others point out the fact that twenty-seven years passed between Columbus’s first Atlantic crossing and Cortez’s conquest of Mexico, or that 127 years passed between the first European visit to the Mississippi River and the second—it’d been “discovered,” “forgotten,” and “discovered” again. From some point in the future, our time, with its celebrities, politicians, its happiness and pain, might look like little more than an interregnum, the moment between the first landing and the colonization of space. Kaysing put his theories in a book, self-published in 1976. His title is also his conclusion: We Never Went to the Moon: America’s Thirty Billion Dollar Swindle. He believed he was playing whistle-blower, calling attention to a cover-up. The human mind has evolved to see patterns. You see a face in the clouds, hear God in the wind. Some people spot a cabal where others see nothing but bureaucrats. It’s not because they are stupid; it’s because they are smart. The same skill that would have made them a success in one age makes them a kook in another. Kaysing catalogued inconsistencies that “proved” the landing had been faked. There have been hundreds of movies, books, and articles that question the Apollo missions; almost all of them have relied on Kaysing’s “discoveries.” Old Glory: The American flag the astronauts planted on the moon, which should have been flaccid, the moon existing in a vacuum, is taut in photos, even waving, reveling more than NASA intended. (Knowing the flag would be flaccid, and believing a flaccid flag was no way to declare victory, engineers fitted the pole with a cross beam on which to hang the flag; if it looks like its waving, that’s because Buzz Aldrin was twisting the pole, screwing it into the lunar soil). There’s only one source of light on the moon—the sun—yet the shadows of the astronauts fall every which way, suggesting multiple light sources, just the sort you might find in a movie studio. (There were indeed multiple sources of light during the landings—it came from the sun, it came from the earth, it came from the lander, and it came from the astronauts’ space suits.) Blast Circle: If NASA had actually landed a craft on the moon, it would have left an impression and markings where the jets fired during takeoff. Yet, as can be seen in NASA’s own photos, there are none. You know what would’ve left no impression? A movie prop. Conspiracy theorists point out what looks like a C written on one of the moon rocks, as if it came straight from the special effects department. (The moon has about one-fifth the gravity of earth; the landing was therefore soft; the lander drifted down like a leaf. Nor was much propulsion needed to send the lander back into orbit. It left no impression just as you leave no impression when you touch the bottom of a pool; what looks like a C is probably a shadow.) Here you are, supposedly in outer space, yet we see no stars in the pictures. You know where else you wouldn’t see stars? A movie set. (The moon walks were made during the lunar morning—Columbus went ashore in daylight, too. You don’t see stars when the sun is out, nor at night in a light-filled place, like a stadium or a landing zone). Giant Leap for Mankind: If Neil Armstrong was the first man on the moon, then who was filming him go down the ladder? (A camera had been mounted to the side of the lunar module). Kaysing’s alternate theory was elaborate. He believed the astronauts had been removed from the ship moments before takeoff, flown to Nevada, where, a few days later, they broadcast the moon walk from the desert. People claimed to have seen Armstrong walking through a hotel lobby, a show girl on each arm. Aldrin was playing the slots. They were then flown to Hawaii and put back inside the capsule after the splash down but before the cameras arrived. This scenario was turned into Capricorn One, probably the best acting work of O.J. Simpson’s career. In that movie, which did as much as Kaysing to spread doubt, the capsule burns up on reentry, leaving NASA with no choice: they must kill the astronauts. O.J. escapes, runs across the desert, and shows up at his own funeral. This twist was said to echo another aspect of the conspiracy, the most chilling. Some attributed the fire that tore through the rehearsal capsule during preparations for Apollo 1, killing three astronauts—Gus Grissom, Edward White II, Roger Chaffee—was really part of a cover-up, a way to silence men who were about to go public. At any other time, such theories would have been dismissed as a madman’s raving, but America was willing to doubt in the seventies. That’s when the dream faded, when everything we’d been told began to sound like a fairy tale. American history itself was questioned, rewritten. Were we in fact the good guys at Plymouth Rock? How was the West really won? It was all recast in the afterglow of the Vietnam War, which was escalated with lies, and Watergate, when the president operated in the way of Don Vito Corleone. In other words, the space program, which began in one era, the buzz-cut age of American exceptionalism, culminated in another. There was a new sensibility. We were all becoming conspiracy theorists, trained to see behind the screen, spot the hoax, suspect everything. That cynicism is the only thing many Americans still have in common. It used to be baseball; now it’s the certainty that we’re being tricked. * Of all the fables that have grown up around the moon landing, my favorite is the one about Stanley Kubrick, because it demonstrates the use of a good counternarrative. It seemingly came from nowhere, or gave birth to itself simply because it made sense. (Finding the source of such a story is like finding the source of a joke you’ve been hearing your entire life.) It started with a simple question: Who, in 1969, would have been capable of staging a believable moon landing? Kubrick’s masterpiece, 2001: A Space Odyssey, had been released the year before. He’d plotted it with the science fiction master Arthur C. Clarke, who is probably more responsible for the look of our world, smooth as a screen, than any scientist. The manmade satellite, GPS, the smart phone, the space station: he predicted, they built. 2001 picked up an idea Clarke had explored in his earlier work, particularly his novel Childhood’s End—the fading of the human race, its transition from the swamp planet to the star-spangled depths of deep space. In 2001, change comes in the form of a monolith, a featureless black shard that an alien intelligence—you can call it God—parked on an antediluvian plain. Its presence remakes a tribe of apes, turning them into world-exploring, tool-building killers who will not stop until they find their creator, the monolith, buried on the dark side of the moon. But the plot is not what viewers, many of them stoned, took from 2001. It was the special effects that lingered, all that technology, which was no less than a vision, Ezekiel-like in its clarity, of the future. Orwell had seen the future as bleak and authoritarian; Huxley had seen it as a drug-induced dystopia. In the minds Kubrick and Clarke, it shimmered, luminous, mechanical, and cold. Most striking was the scene set on the moon, in which a group of astronauts, posthuman in their suits, descend into an excavation where, once again, the human race comes into contact with the monolith. Though shot in a studio, it looks more real than the actual landings. It’s the shadow and light, the space and enclosure, the way people move. Also: No CGI, no computer-created effects. Everything is actual—models maybe, but actual physical objects. There really was a space station and it really did turn; there really was a “lunar” surface, covered with rocks. It gave everything a weight you don’t feel in newer movies. To conspiracy theorists, it made perfect sense that NASA, realizing it could not actually land a man on the moon, turned to Kubrick. But why would he do it? It could have been an act of patriotism, a citizen heeding the call of a nation in need. It could have been for money, enough to cover every production from here to Eyes Wide Shut. Or maybe they had something on him. We all know about Hoover and the FBI. It would have been an easy gig in any case, cheaper and quicker than making 2001 itself. So, I ask: Where did Stanley Kubrick watch the moon landing? Was he in front of his TV at home, a viewer like everyone else? Or was he off camera but on set, five feet from Armstrong, imploring the astronaut, “Remember, you are not in a studio … you are on the ladder of a space ship, about to become the first man to ever step foot on another planet. You’re terrified but also awed … ACTION!” As the years went by (I’m going with the premise here) Kubrick’s pride in his accomplishment (the bastards bought it) turned into second thoughts, then guilt, then shame. My God, what have I done? He felt the need to confess. But who could he tell? If he went public, he’d vanish as surely as had the numerous people who knew the truth about the Kennedy assassination. He would instead confess with the only medium he really understood: film. It would be a coded confession, hidden but there for those with the right kind of eyes. It would bookmark the work he had done on the Apollo landing. That was fiction disguised as history. This would be history disguised as fiction. What genre would he work in? He’d already made a war movie (Paths of Glory), a comedy (Lolita), a sun-and-sandals epic (Spartacus), and a political thriller (Dr. Strangelove). That left horror, which was perfect for the story he had to tell, the story beneath the story, which was a kind of nightmare. Theorists note the ways in which Kubrick changed his source material, Steven King’s novel The Shining, the story of a haunted hotel and its winter caretaker and his family. One example: In the novel, the room to be avoided, the epicenter of bad mojo, is Room 217. Kubrick changed it to Room 237. Why would you make a change like that? Maybe because the moon, on average, is 237,000 miles from the earth. Most of the work that ties Kubrick and The Shining to the moon landing can be found on the internet, a prime example being the page on author and filmmaker Jay Weidner’s website called “Secrets of the Shining, Or How Faking the Moon Landing Nearly Cost Stanley Kubrick his Marriage and His Life.” To my mind, this is a work of literature and, as such, demonstrates the best thing about the conspiracy theories. It lets you experience The Shining, which was released in 1980, with a renewed sense of discovery—that is, all over again. It starts with the Overlook Hotel. We are told the hotel stands for America. It was once grand, but has been allowed to dilapidate. The role of the caretaker, a novelist named Jack Torrance (Jack Nicholson)—an artist like Kubrick—is to maintain the fiction (we landed on the moon) while the foundation crumbles. The man who hires the caretaker sits behind a big desk with an American flag at his side and an American eagle behind him. He is the Establishment, and tells the caretaker an ugly truth: “The site is supposed to be located on an Indian burial ground, and I believe they actually had to repel a few Indian attacks as they were building it.” In other words, the hotel, like America, stands on the bones of its rightful owners. Later, the hotel is engulfed in a winter storm—that’s the Cold War which drove JFK to make that silly promise about putting a man on the moon. Meanwhile, Jack Torrance is writing, compiling a manuscript that turns out to be evidence of a collapsing mind. That’s what taking part in a lie does to the artist, and why he must confess. Jack’s pages (it’s a terrifying discovery in the movie) consist of nothing but a single sentence written again and again: “All work and no play make Jack a dull boy.” To the ordinary viewer, it’s evidence of madness. To a conspiracy theorist, it’s a message. “All Work …,” “A L L” or A 1 1, as in Apollo 11? At one point, the caretaker’s son, Danny, racing his Big Wheel though the enormous maze of halls, a maze duplicated by the hedge maze outside the hotel, a maze in which the family is lost, in the way the nation is lost in a wilderness of mirrors, comes upon two twin girls (not in the book!), creepy specters, the ghosts of children killed by a previous caretaker. Why twins? Because Apollo 11 came after another fake, the Gemini mission. On the Zodiac chart, the symbol for Gemini is a pair of twins. The clincher comes when the Danny gets up from his tricycle and walks down the corridor, following a mysterious call, the sort that a government might make to a filmmaker in a time of crisis. The caretaker’s son is wearing an Apollo 11 sweater—weird, huh? It shows a rocket over the words Apollo 11. When he stands, it seems as if the rocket is blasting off, whereas of course it isn’t because it isn’t real. Danny walks, thus the rocket flies, until he finds himself outside Room 237. Danny, who stands for the child in Kubrick, the artist, has traveled to 237, that is, all the way to the moon. Only he hasn’t. Is any of this real? Of course not. It’s a face in the clouds. But it can feel more real than reality, as if you are finally seeing what’s always been hidden. That’s the thrill of conspiracy theory, why it can become an obsession, a way of being. It gives you a more interesting way to consume reality. It is literary criticism directed not at a text but at the world, which is a kind of text. It lets the reader understand that world in a new way. You feel the thrill you felt when you stumbled across the teachers’ edition in fifth grade. So here are the answers, all of the answers. You can finally see the truth behind the facade. Rich Cohen is the author of The Last Pirate of New York: A Ghost Ship, a Killer, and the Birth of a Gangster Nation.

From The PARIS Review wwwtheparisreview.org

#How Stanley Kubrick Staged the Moon Landing #men never went to the moon

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pemdasblog · 3 years

Text

PEMDAS -- 11•19•20

Welcome to the new PEMDAS Blog! My work on PEMDAS keeps expanding each week so it needs a bigger home. She loves The Overwhelm.

My main goal is to have a one glance spot for all things news/entertainment. I want it to contain as much detail as possible without being too cluttered. Striking the balance is hard. If you have feedback, please share it with me.

Open below for PEMDAS!

POLITICS/NEWS

U.S. Coronavirus Numbers

More than 11,695,500 people in the United States have been infected with the coronavirus and at least 251,100 have died.

The number of people who have died from Coronavirus in the U.S. is equivalent to 84 times the number of U.S. citizens who died in the attacks on Sept. 11, 2001. It is 56 times the number of U.S. soldiers who died in the war against Iraq. It is 7 times the number of U.S. citizens who died from the flu last year.

On Nov. 18: 1,923 deaths (+52% 14-day change), 172,391 infections (+77% 14-day change)

The rates of infection and death remain disproportionately high in the Native American communities across the country. Just last weekend, 600 Native people died on the Navajo reservation.

Sen. Chuck Grassley from Iowa has contracted coronavirus. The nation mourns :-(

Global Coronavirus Numbers

The coronavirus pandemic has sickened more than 56,661,800 people, according to official counts. As of Thursday afternoon, at least 1,355,100 people have died.

On Nov. 18: 11,133 deaths (+13% 14-day change), 598,877 infections (+25% 14-day change)

Election 2020

President-Elect Biden claims that Trump’s refusal to concede the election is preventing him from accessing critical data about the U.S. outbreak and that this could slow the vaccine distribution process.

President-Elect Biden names Cecilia Muñoz as part of his transition team. Muñoz served as a top immigration advisor for Obama, justifying harsh immigration policies, including the deportation of thousands of Central American children and the killing of an executive order that would have halted deportations.

Nancy Pelosi is re-elected as Speaker of the House.

World News

Secretary of State Mike Pompeo toured an illegal Israeli settlement and said he has plans to tour another in the occupied Golan Heights. This violates multiple U.N. resolutions and the Geneva Conventions. He also labelled the B.D.S. movement “anti-Semitic.”

In Central America, at least 30 people have died from Hurricane Iota. About 160,000 Nicaraguans and 70,000 Hondurans were forced to flee from their homes.

The head of the Australian military has apologized to the people of Afghanistan after Australian special forces committed war crimes by killing 39 noncombatants in Afghanistan over the past 4 years.

A nearly three-decade-old ceasefire has ended in occupied Western Sahara — what many consider to be Africa’s last colony. Fighting has broken out in several areas between the Moroccan military and the Polisario Front, the Sahrawi liberation movement seeking independence, after the Moroccan military broke into a no-go buffer zone in southern Western Sahara.

Winners of the National Book Awards 2020

Fiction: Interior Chinatown •• Charles Yu

Nonfiction: The Dead Are Arising: The Life of Malcolm X •• Les Payne and Tamara Payne

Translated Literature: Tokyo Ueno Station •• Yu Miri and Morgan Giles

Young People’s Literature: King and the Dragonflies •• Kacen Callender

EDUCATION — Topic: this Candace Owens tweet

“There is no society that can survive without strong men. The East knows this.“

Both of these sentences separately are not true; both of them together are not true.

Here is an article about a village in China (”the East”) with women running the show.

Here is a list of several others, mostly in “the East.”

“In the west, the steady feminization of our men at the same time that Marxism is being taught to our children is not a coincidence.“

First of all, Marx has not been an outright advocate for a gender-queer society.

Second of all, I think she’s right. Socialism and gender/queer theory are intertwined in so many ways.

“It is an outright attack.“

And I think she’s right about this, too. Socialism and gender/queer theory all are an attack on the cis-hetero white supremacist capitalist patriarchy.

“Bring back manly men.“

Okay, this is where I think she’s wrong again.

1) "Manly men” haven’t gone anywhere...

2) Is she basically arguing that a couple of men wearing dresses means every man is no longer “manly?” This makes no sense.

3) In a society, “manly men” can coexist with “feminized” men. There is enough room for everyone. And there will always be men who want to take up the “manly” MANtle. And there will be queer/trans masc people who will want to do the same, though I’m sure Candace would hate that.

MEDIA (OTHER)

BOOKS - Tuesday, November 24

Ready Player Two •• Ernest Cline

How the King of Elfhame Learned to Hate Stories (Folk of the Air) •• Holly Black

Saving Freedom: Truman, the Cold War, and the Fight for Western Civilization •• Joe Scarborough

Bright Shining World •• Josh Swiller

Ruinsong •• Julia Ember

The Awakening (Dragon Heart Legacy #1) •• Nora Roberts

Dark Tides •• Philippa Gregory

Escape Pod: The Science Fiction Anthology •• edited by S.B. Divya & Mur Lafferty

The Thirty Names of Night •• Zeyn Joukhadar

MOVIES

Friday, November 20

Jiu Jitsu •• Dimitri Logothetis •• In Theaters

The Last Vermeer •• Dan Friedkin •• In Theaters

Run •• Aneesh Chaganty •• Hulu

Soros •• Jesse Dylan •• In Theaters

Sound of Metal •• Darius Marder •• In Theaters

The Twentieth Century •• Matthew Ranking •• In Theaters

Vanguard •• Stanley Tong •• In Theaters

Sunday, November 22

Belushi •• R. J. Cutler •• Showtime

Dolly Parton’s Christmas on the Square •• Debbie Allen •• Netflix

Monday, November 23

Shawn Mendes: In Wonder •• Grant Singer •• Netflix

Tuesday, November 24

Hillbilly Elegy •• Ron Howard •• Netflix

Wednesday, November 25

The Christmas Chronicles 2 •• Chris Columbus •• Netflix

The Croods: A New Age •• Joel Crawford •• In Theaters

Happiest Season •• Clea DuVall •• Hulu

Stardust •• Gabriel Range •• In Theaters

Thursday, November 26

Mosul •• Matthew Michael Carnahan •• Netflix

Superintelligence •• Ben Falcone •• HBO Max

TV SHOWS

Friday, November 20

Animaniacs •• Season 1 •• Hulu

The Mandalorian •• Season 2, Episode 4 •• Disney+

Marvel’s 616 •• Season 1 •• Disney+

The Pack •• Season 1 •• Prime Video

Small Axe •• Mangrove •• Prime Video

Voices of Fire •• Season 1 •• Netflix

Saturday, November 21

Between the World and Me •• Special •• HBO

Sunday, November 22

American Music Awards 2020 •• Special •• ABC

Host: Taraji P. Henson

Performances

Bad Bunny x Jhay Cortez

Bebe Rexha x Doja Cat

Bell Biv DeVoe

Billie Eilish

BTS

Dan + Shay

Dua Lipa

Jennifer Lopez x Maluma

Justin Bieber x Benny Blanco

Katy Perry

Lewis Capaldi

Lil Baby

Machine Gun Kelly

Megan Thee Stallion

Nelly

Shawn Mendes

The Weeknd x Kenny G

Monday, November 23

Black Narcissus •• Miniseries •• FX

His Dark Materials •• Season 2, Episode 2 •• HBO

Tuesday, November 24

Big Sky •• Season 1, Episode 2 •• ABC

Wednesday, November 25

Saved by the Bell •• Season 1 •• Peacock

The Wonderful World of Disney: Magical Holiday Celebration 2020 •• Special •• ABC

Hosts: Derek Hough, Julianne Hough, Trevor Jackson

Sneak peek of Remy’s Ratatouille Adventure attraction and of Pixar’s Soul

VIDEO GAMES

Friday, November 20

Hyrule Warriors: Age of Calamity •• NS

Katamari Damacy REROLL •• PS4, XBO

Sakuna: Of Rice and Ruin •• PS4, NS

The Skylia Prophecy •• NS

Monday, November 23

World of Warcraft: Shadowlands •• PC

Tuesday, November 24

Cobra Kai: The Karate Kid Saga Continues •• NS

Football Manager 2021 •• XBX, XBO, PC, Mac

Just Dance 2021 •• PS5, XBX

Wednesday, November 25

Out of Space: Couch Edition •• PS4, XBO, NS

Star Renegades •• PS4

Vigor •• PS4

Thursday, November 26

Maid of Sker •• NS

DIRECT ACTIONS/DONATIONS

Give $5 to... Unicorn Riot: on-the-ground journalists covering and capturing footage of the revolution!

ALBUMS

separated from her twin, a dying android arrives on a mysterious island [EP] •• Ada Rook

distanceless gentleness

time dilation

total memory failure

otherworld

Self Help •• Badge Époque Ensemble

Sing a Silent Gospel (ft. Meg Remy & Dorothea Paas)

Unity (It’s Up to You) [ft. James Baley]

Cloud

The Sound Where My Head Was

Just Space for Light (ft. Jennifer Castle)

Birds Fly Through Ancient Ruins

Extinct Commune

BE •• BTS

Life Goes On

내 방을 여행하는 법

Blue & Grey

Skit

잠시

병

Stay

Dynamite

Hypoluxo •• Hypoluxo

Seth Meyers

Ridden

Nimbus

Tenderloin

Appetizer

Night Life

Pointer Finger

Shape Ups

Shock

Sweat

Harmony •• Josh Groban

The World We Knew (Over and Over)

Angels

Celebrate Me Home

Shape of My Heart (Duet with Leslie Odom Jr.)

Your Face

Both Sides Now (Duet with Sara Bareilles)

She

The Impossible Dream

The First Time Ever I Saw Your Face

It’s Now or Never

I Can’t Make You Love Me

The Fullest (feat. Kirk Franklin)

Sin Miedo (del Amor y Otros Demonios) ∞ •• Kali Uchis

la luna enamorada

fue mejor (w/ PARTYNEXTDOOR)

//aguardiente y limón %ᵕ‿‿ᵕ%

¡aquí yo mando! (w/ Rico Nasty)

vaya con dios

que te pedí//

quiero sentirme bien

telepatía

de nadie

no eres tu (soy yo)

te pongo mal (prendelo) [w/ Jowell y Randy]

la luz (Fín) [w/ Jhay Cortez]

ángel sin cielo

III •• Lindstrøm x Prins Thomas

Grand Finale

Martin 5000

Small Stream

Oranges

Harmonia

Birdstrike

Good News •• Megan Thee Stallion

Shots Fired

Circles

Cry Baby (ft. DaBaby)

Do It on the Tip (ft. City Girls)

Sugar Baby

Movie (ft. Lil Durk)

Freaky Girls (ft. SZA)

Body

What’s New

Work That

Intercourse (ft. Popcaan)

Go Crazy (ft. Big Sean & 2 Chainz)

Don’t Rock Me To Sleep

Outside

Savage Remix (ft. Beyoncé)

Girls in the Hood

Don’t Stop (ft. Young Thug)

Copycat Killer [EP] •• Phoebe Bridgers x Rob Moose

Kyoto (Copycat Killer Version)

Savior Complex (Copycat Killer Version)

Chinese Satellite (Copycat Killer Version)

Punisher (Copycat Killer Version)

Euphoric Sad Songs [EP] •• RAYE

Love Me Again

Change Your Mind

Regardless (ft. Rudimental)

Secrets (ft. Regard)

Natalie Don’t

All Dressed Up

Please Don’t Touch

Walk on By

Love of Your Life

Dimensional Stardust •• Rob Mazurek - Exploding Star Orchestra

Sun Core Tet (Parable 99)

A Wrinkle in Time Sets Concentric Circles Reeling

Galaxy 1000

The Careening Prism Within (Parable 43)

Abstract Dark Energy (Parable 9)

Parable of Inclusion

Dimensional Stardust (Parable 33)

Minerals Bionic Stereo

Parable 3000 (We All Come From Somewhere Else)

Autumn Pleiades

While the World Was Burning •• SAINt JHN

Sucks to Be You

Switching Sides

Freedom Is Priceless

Gorgeous

High School Reunion, Prom (ft. Lil Uzi Vert)

Monica Lewinsky, Election Year (ft. A Boogie Wit Da Hoodie & DaBaby)

Roses (Remix) [ft. Future]

Pray 4 Me (ft. Kanye West)

Quarantine Wifey (ft. JID)

Time for Demons

Ransom (ft. 6lack & Kehlani)

Back on the Ledge

Roses (Imanbek Remix)

ALIAS •• Shygirl

TWELVE

SLIME

FREAK

TASTY

LENG

BAWDY

SIREN

Coping Mechanisms •• Tayla Parx

Sad

Dance Alone

System

Stare

Fixerupper

Bricks

Residue

Justified

NonChalant

Nevermind

Last Words

You Don’t Know

LIVE DRUGS •• The War on Drugs

An Ocean Between the Waves (Live)

Pain (Live)

Strangest Thing (Live)

Red Eyes (Live)

Thinking of a Place (Live)

Buenos Aires Beach (Live)

Accidentally Like a Martyr (Live)

Eyes to the Wind (Live)

Under the Pressure (Live)

In Reverse (Live)

SINGLES

NEW

“Revolutionary Love” •• Ani DiFranco

“Dido’s Lament” •• Annie Lennox

“My Head & My Heart” •• Ava Max

“Endless Me, Endlessly” •• Baio

“What Do You Say When I’m Not There?” •• Baio

“45” •• Bleachers

“chinatown” •• Bleachers x Bruce Springsteen

“Thousand Pills” •• Boldy James x Stove God Cooks

“gf haircut” •• dad sports

“Scratchcard Lanyard” •• Dry Cleaning

“Angel Rock” •• Dua Saleh

“Best Rapper in the Fuckin World” •• GoldLink

“Anywhere” •• Hannah’s Little Sister

“Love Not War (The Tampa Beat)” •• Jason Derulo x Nuka

“Pick Up Your Feelings” •• Jazmine Sullivan

“Daddy Boyfriend” •• Jessica Lea Mayfield

“Emotional Abandonment” •• Jessica Lea Mayfield

“Hitman” •• Kelly Rowland & NFL

“Summertime The Gershwin Version” •• Lana Del Rey

“Undone” •• Lande Hekt

“Man’s World” •• MARINA

“Prisoner” •• Miley Cyrus x Dua Lipa

“The Lighthouse Keeper” •• Sam Smith

“Is It Just Me?” •• Sasha Sloan x Charlie Puth

“Shameika Said” •• Shameika x Fiona Apple

“Monster” •• Shawn Mendes x Justin Bieber

“Hey Boy” •• Sia

“nhs” •• slowthai

“Plead Insanity” •• Spring Silver x Sad13 x Bartees Strange

“feel good” •• Tierra Whack

“Peppers and Onions” •• Tierra Whack

“Flawed” •• Wale x Gunna

“Tried to Tell You” •• The Weather Station

REMIXES

“Valley of One Thousand Perfumes (Orchestral Version)” •• Mary Timony

“Lifetime (Planningtorock ‘Let It Happen’ Remix)” •• Romy x Planningtorock

“Boys Who Don’t Wanna Be Boys (U.S. Girls Live from The Peppermint Lounge Remix)” •• Seth Bogart x U.S. Girls

COVERS

“Waverly” (Samia cover) •• Anjimile

“Merry Christmas, Happy Holidays” •• Betty Who

“Deacon Blues” (Steely Dan cover) •• Bill Callahan x Bonnie Prince Billy x Bill McKay

“Christmas Will Really Be Christmas” •• Black Pumas

“Clementine” (Elliott smith cover) •• Bonny Light Horseman

“The First Time I Ever Saw Your Face” (Roberta Flacke cover) •• James Blake

“The First Noel” •• Jazmine Sullivan x Cory Henry

“A Dreamer’s Holiday” (Perry Como cover) •• Julien Baker

MUSIC VIDEOS

“JUMPING SHIP” •• Amaarae x Kojey Radical x Cruel Santino (dir. Remi Laudat)

“34+35″ •• Ariana Grande (dir. Director X)

“Shameika” •• Fiona Apple (dir. Matthias Brown)

“Don’t Underestimate Midwest American Sun” •• Kevin Morby (dir. Johnny Eastlund x Dylan Isbell)

"Star” •• LOOΠΔ (dir. MOSWANTD)

“Waverly” •• Samia (dir. Samia Finnerty x Matt Hixon)

“Kerosene” •• Yves Tumor x Diana Gordon (dir. Cody Critcheloe)

#pemdas

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