Bryce Dessner on Triptych (Eyes of One on Another)

By Susan Yung

Triptych (Eyes of One on Another), at the Howard Gilman Opera House (Jun 6—8), features large-scale projections of the photography of Robert Mapplethorpe and combines music by Bryce Dessner with a libretto by Korde Arrington Tuttle, performed by Roomful of Teeth with Alicia Hall Moran and Isaiah Robinson, directed by Kaneza Schaal. We spoke to Dessner (whose band The National released its eighth album last week) about his connection to Mapplethorpe’s photography, how he structured his composition, and how Tuttle’s libretto influenced the music.

BAM Alumni: Daniel Goldberg, Film Critic

by Nathan Gelgud

Photo by David Worthington

Every year, BAM Education offers the Young Film Critics program to high school students. It’s a series of free after school classes taught by veteran NYC film instructor Josh Cabatt. 

We recently started the 2013 sessions and found out that Daniel Goldberg, a YFC alumnus from 2005, is now a professional critic. He’s a staff writer at Slant Magazine, where he writes television reviews, and he’s currently working on a short film that he co-wrote and plans to direct once he raises the funds (find out more about that here). 

We caught up with Goldberg over email to talk about criticism, television versus film, and not watching The Wire.

What stuck with you about Young Film Critics?

I remember how detailed and constructive and precise the feedback was on my writing. The program taught me to write with authority rather than write for an authority figure. I got to try on this new voice I had never heard myself use before by becoming a critic. I remember the discussions and debates we had about what, exactly, the role of a critic should be. Today, sometimes I forget what an open-ended question that is, until I remember those discussions and humbly admit that the critic has a myriad of roles that are all somewhat up for debate.

Since you brought it up, what is the role of a critic? 

For me, the most important thing is to be honest and unapologetic. Reactions are instinctual. It's the verbalization of those reactions that requires thought. Sometimes it's tempting for me to carefully consider whether or not I like something, but I know that if I'm doing that I'm not being honest with myself. It usually means that I'm afraid to stand up for my opinions.

Life with Richard Pryor: An Interview with Jennifer Lee Pryor

by Nellie Killian

This month we've been looking back on the best films of Richard Pryor in our series A Pryor Engagement, and we've been privileged to have some special guests (including Richard Pryor, Jr. and critic Armond White) speak to audiences about his lasting legacy in film and comedy. In this interview Pryor’s widow, Jennifer Lee Pryor, shares some of her fond memories about their relationship and his career.


How did you and Richard meet? You mentioned that it was while he was working on Richard Pryor: Live in Concert, had you seen him perform live before? 

I had just returned from Texas (August 1977) where I had been singing with a friend in clubs around the Austin area. I was broke and needed work. My friend Lucy Saroyan (William’s daughter) was seeing Richard as well as being employed by him as a “creative consultant.” Richard had recently purchased a home in Northridge, California that needed decorating. I met him and was hired to work in collaboration with Lucy decorating this house.

I fell in love the minute I met him… no joke. I worked for him for six months before we began actually dating. During that time, he married and divorced Deborah. We began dating in January of 1978. And that’s when he began work on Richard Pryor: Live In Concert. I fell in love again when I saw him on stage. I worked with him on that, going to the Comedy Store every night, taking notes and honing it and when he had an act, we shot it; it’s my favorite stand-up concert and is the film that allowed him to crossover to white audiences. In Live In Concert, Richard was strong and vulnerable and brilliant and in love while turning all the pain and struggle into comedy, which was his genius.

I Think Therefore I BAM: Hofesh Shechter

We kick off Executive Producer Joseph V. Melillo's "I Think Therefore I BAM" interview series with Israeli, UK-based choreographer/composer Hofesh Shechter, whose first full-length work, Political Mother, opens tonight at the BAM Howard Gilman Opera House. He thinks, therefore he BAMs!

Einstein on the Blog: The Boy of Einstein, Jasper Newell

Jasper's reaction to seeing his name in the paper!

If you saw Einstein on the Beach, chances are your eyes were drawn to the arresting and enigmatic figure of the boy. He stands—with enviable poise—on an elevated bridge in the Train Scene, stoically throwing paper airplanes down to the stage. He proclaims, as a diminutive judge in the trial scene: “This court of common pleeeeeeeas is nooooow in SESSION!” and then mugs for the audience. He gets to ride a skateboard. And in the spaceship scene, he travels up and down in an elevator, shrugging his shoulders and making shapes with his hands. Whatever he’s doing, you can’t help but marvel at his incredible presence onstage.

The boy is Jasper Newell, who you may also recognize from the recent film We Need to Talk About Kevin. We on the BAM staff were delighted to find out that Jasper also kept a blog of his Einstein adventures, and we quickly became addicted to reading it. We were so impressed that we asked him to answer a few questions for us. Ever the pro, he answered them during Thursday’s performance of Einstein (Field Dance 1, to be exact.).

How Many Dashikis Does Baba Chuck Davis Have, and more...

Baba Chuck Davis. Photo: Julieta Cervantes

2012 is a big year for DanceAfrica, BAM's longest running series. It celebrates 35 years, and its founder and artistic director, Baba Chuck Davis, turned 75! Here, Davis answers a few questions, including one pertaining to being the perennial "best-dressed" at DanceAfrica.

Q: Congratulations on your 35th DanceAfrica, BAM's longest running series. What inspires you to keep the festival going?

Baba Chuck Davis: I am inspired to continue DanceAfrica every time I read or hear of the negative images associated with any of the countries on the continent. I am also encouraged each time I visit a different country and witness how many students are eager to learn about cultures other than their own, and the role dance and music has in the preservation of same. I am encouraged every time I am asked—at this stage of the game, by many people, of all genders/races/ages—if Africans wear shoes!!! Mercy.

Q: How do you find new companies from Africa and the diaspora?

CD: Once a theme has been selected, I strive to prepare a program that will please our supporters. I look for areas in Africa which have not been given much attention.

Q: What cities is DanceAfrica in now, and are there plans to expand it even more?

CD: DanceAfrica is now in: New York; Dallas; Pittsburgh; Denver; Washington, DC; Atlanta. It has been in: Philadelphia; Chicago; Red Bank, NJ; Minneapolis; New Haven; Los Angeles. It is slated for a return to Los Angeles and Chicago, and to have premieres in Durham, NC, and some countries in Africa as well as, when politically possible... Cuba.

My goal is to have a DanceAfrica festival somewhere on this planet twice a month. Uh huh.

Q: How many dashikis do you have by now?

CD: At this present time Mr. Daniel “Oko” Deheer, the tailor who designs and makes my traditional regalia, has graced me with 40 complete ensembles; 30 mini ensembles; many pants and many tops. This year, 2012, for the anniversary, he has designed three ultra fabulous ensembles which are breathtaking… even if i say so myself.