137 posts categorized "DANCE"
Check out this recent video of choreographer, dancer and onetime—literally, it was just one time, but it was a big one!—pop star Toni Basil, still confidently strutting her stuff at 72 years old.
Last night, Trump chose to talk about his deep admiration and support for Putin.— Hillary Clinton (@HillaryClinton) September 8, 2016
Maybe he did it with a smile. pic.twitter.com/IjcqT5Z4KZ
Hillary points out the obvious inappropriateness of Trump dishing on his classified security briefing, rejects smile advice.
Renée Zellweger indirectly asserts that rumors saying her ex, Kenny Chesney, was gay were false.
Lady Gaga hits #1 ... with a song that has not even been released. Seems fair.
Madonna's Salim “Slam” Gauwloos gives LONG, juicy interview on Blond Ambition, HIV, dance, his dark period.
A new Dead or Alive career-retrospective set has 19 (!) discs.
Last night capped off a week of Madonna-themed festivities. Who knew Madonna's movies would enjoy such a resurgence?
Okay, it was only for a week, only at Metrograph in NYC and some of her movies are still crappy, but it was truly fun seeing some of her better work on the big screen (Dick Tracy) and especially deciding some of her lesser work isn't really that bad after all (Who's That Girl). A technical snafu (Chinese peony powder on the reel?) led to Body of Evidence being canceled in spite of a lot of tickets being sold, and I then missed Dangerous Game, not wanting to hang out. But both have been rescheduled.
Best of all was the Truth or Dare run—or should I say is, since it has been extended for another week at Metrograph, through September 7.
I saw Truth or Dare at MoMA (with Madonna in attendance and Joe Berger moderating an Alek Keshishian/Vincent Paterson/Jose Gutierez/Salim “Slam” Gauwloos Q&A), at Metrograph (with Chelsea Handler moderating an Alek Keshishian Q&A) and—last night—saw it a third time, again at Metrograph, with Dance Films Association's Galen Bremer moderating a Q&A with Gutierez and Gauwloos.
Seeing the film over and over has beaten it into my head, and allowed me to note details I never would have seen without the repetition. (Jack Larson is is seen around the time Madonna gags over Kevin Costner?!) Best of all the Q&As have allowed some of the creatives to speak eloquently about what is probably Madonna's most important film. (Desperately Seeking Susan remains my fave.)
Jose and Slam were wonderfully warm in their chat after the film, with Slam making sure Jose got credit for some of the choreography in “Like a Virgin” and “Vogue” on Blond Ambition and each o them responding candidly to a question about millennials who don't think Madonna did anything. (Don't miss that one!)
They also plugged the outstanding doc they're in that's been a film-fest fave, Strike a Pose; seek that out whenever and wherever you can.
Keep reading for all of the Q&A with Jose and Slam, minus only about 30 seconds of one of Jose's answers in the middle ...
It's hard for me to forgive this guy, hot and wriggly as he is, for worshiping Britney Spears AND for praising my magazine's old rival J-14 (I was the EIC of Popstar!) in his Twitter bio, but ... I will overcome these facts. Keep reading to see him do a truncated routine to Britney's new song “Private Show” from her just-released Glory ...
I've been to countless talk-backs and Q&As and panels and book readings and other modes of presenting an artist who is presenting themselves to an interested audience, but I have to say that Dance Films Presents: An Evening with Vincent Paterson stands out as being among the best.
Paterson has been central to an array of pop cultural touchstone moments—he was the adorbs gang leader in Michael Jackson's “Beat It” and choreographed Jackson's “Smooth Criminal” and his Bad Tour; he choreographed Madonna's Pepsi commercial and “Express Yourself” video, co-directed her Blond Ambition World Tour and conceived and choreographed that Marie Antoinette-themed “Vogue” performance on MTV and her first Oscars performance; he choreographed and appeared in Lars von Triers's Bjork-powered Dancer in the Dark; the list goes on.
With so many career highlights, the evening had promise, but it was Paterson's winning personality (and hysterically funny vocal impersonations of some of the stars he was citing) that made it fun, and the show's clever conception and structure by Joe Berger that made it consistently compelling. It was two hours long but breezed by, with Paterson cheerfully reporting on Madonna's initial bitchery, Michael's child-like approach to creativity, the unthinkable complexity of shooting Dancer in the Dark and losing out on a much-deserved MTV Award to—sniff—Paula Abdul.
Paterson's insights into dance and visual expression had the student-heavy audience captivated, with surprising left turns into his work in the fields of opera, German theater and Cirque du Soleil.
Between short Q&A periods with Berger, who as with his MoMA Truth or Dare gig proved to be an effective and emotionally invested moderator, Paterson gave spirited readings from his forthcoming memoir, which you gotta believe is going to be a juicy read, based on the tidbits he offered. I mean, his descripton of Sophia Loren staring gape-jawed as Madonna sang with her back to the audience at the Oscars was worth the price of admission all by itself, and the guy shed genuine tears for the purity of a moment he shared with Jackson involving some Make-A-Wish kids.
What a treat for fans of—well—really anything.
Joe Berger has been working his heart out to get Madonna's glory years on film properly acknowledged, first with an invite-only MoMA screening of the 1991 gem Madonna: Truth or Dare (at the time the most successful documentary ever), then with a special evening devoted to choreographer-director Vincent Paterson, then with a Madonna film series at Metrograph that embraces the best (Dangerous Game) and worst (Body of Evidence) she had to offer.
So think of it as Kabbalistic karma that tonight, at his Truth or Dare event, Madonna herself shocked the entire room by showing up totally unannounced (her publicists knew, the MoMA curator knew—that was it) to sit in the middle of the audience and watch every frame of the film.