"...The Wannabes drew heavily on 1990's Lucky Pierre, delivering a rousing rendition of "August," countered by a laughable, fall-apart ending on "Date With Bob." In the anthem-in-waiting file, "Bookstores and Restaurants" celebrated the apron-and-name-tag grind with equal amounts of piss and aplomb. The 'Bes finished with a well-chosen cover of INXS' "Don't Change" that left normally reserved grown men with no choice but to slam their pints and dance with uncoordinated abandon..."
"...Arclight's Austin neighbor and showcase partner, Australian Cattle God, takes things even further out to the fringe. With ex-members of beloved Austin bands Pocket FishRmen and Meat Purveyors, Cat Scientist folds harpsichord and indie rock into the delectable dance-pop of last year's Cicada..."
"...Their performances are a dystopic sci-fi spectacle of futuristic jumpsuits, electronic blips, and breakneck synth-punk rhythms. The quartet's new album, Now Is the Time! (Tofu), is sure to spawn legions of poorly executed robot dances..."
"...The bartender got me a beer without taking her eyes off the TV or acknowledging the whining seductions of the only other man sitting at the bar. Near a jukebox on the other side of the room, two old men each sat alone at tables arranged around an open area that might have been a dance floor in a more festive decade..."
"...There it's up to Pepito and his newfound companions, Little Girl Footsteps and Tirado, to save the land from ruin. The play, Two Donuts, is the work of José Cruz González, and was being presented to the Widen student body by the UT Department of Theatre & Dance as one of 13 stops on its Fall 2005 Youth Theatre Tour..."
"...With this third film he's directed, Turturro goes for broke in a down-and-dirty homage to the musical. Starring James Gandolfini, Susan Sarandon, Kate Winslet, Steve Buscemi, Bobby Canavale, Christopher Walken, and many others, this movie bursts with working-class characters who break into song and dance staged to pop music tunes..."
"... Kathy Dunn Hamrick Dance Company is spinning off to San Francisco early next month to premiere a new work, Spin, with music commissioned from Austin composer Tim Kerr. The troupe joins Alma Esperanza Cunningham Movement at the Jon Sims Center for the Arts for a program in which Hamrick will also give the West Coast a peek at Framed, the dance that Hamrick premiered on the East Coast last October when KDHC performed with KDNY..."
"...There's one goal TMW shares with the likes of Fischerspooner: setting indie kids in motion. Keyboard whiz Evan Lawrence, formerly of indie dance band OMD 20/20, came to O'Neal, bassist Brandon Loe (late of Austin's Kitty), and second keyboard player Erin Mikulenka in the spring of 2002 with a vision..."
"...Dance Umbrella, which received $20,000 to support the presentation of dance events that will include residencies by artists, master classes, meet-the-artist events, lecture demonstrations, and dance workshops;..."
"...Pedal Steal/Rollback (1992): Two soundtracks for dances commissioned by the Margaret Jenkins Dance Company. Pedal Steal includes "Billy the Boy," a song cycle based on the life of steel guitarist Wayne Gailey..."
"...Steakley has assembled knockout performers for this production, each with a unique physical appearance and all with explosive singing voices, dance ability, and stage presence. The collective effect of this culturally diverse casting, along with Steakley's skill at synthesizing individual energies onstage into an electrifying whole, is a "tribe" that visually and aurally expresses the values of unity at the heart of this piece..."
"...The problem, Dahlstrom points out, is the increasing numbers of complaints the APD has received from the community about the pervasive drug use and dealing found at most raves. Both the promoters and the club/venue owners agree that yes, ecstasy has become a problem at Austin raves, with kids as young as 14 queuing up No one interviewed for this article denied that raves attract a serious drug element to buy "disco biscuits" from virtually open-air dealers hanging around the dance floor...."
"...You were free to ask anything you wanted and get personalized demonstrations, then eat the foods being presented. All the while, there were vegetable-carving demonstrations, native bands playing music, dance troops performing, and food product booths to explain the details of all of the raw products involved, such as the differences in the unlimited varieties of rice or the many different types of citrus or herbs..."
"...Christina AguileraMy Kind of Christmas (RCA) As the closest thing to a teen-pop apologist currently employed by the Chronicle, guess on whose shoulders it falls on to explain exactly what Christina Aguilera is attempting to add to the Yuletide canon on "Xtina's Xmas"? No wonder people freak out during the holidays: Somewhere, somebody thinks having Ms. Aguilera belt "Have Yourself a Merry Little Christmas" over a dance track excavated from the Technotronic days is a good idea..."
"...Once you know about The Bye Bye Birdie Experience, everything about Paul Beutel falls into place: his love of musicals, his film degree, his stints as an American-Statesman film critic and a UT Performing Arts Center publicist, his years as a song-and-dance man in local musical productions, his programming of the Paramount's Summer Movie Classics series, and especially his 15 years of service -- much of it above and beyond the call of duty -- to Austin's jewel of theatres. I mean, here's a guy who breathes celluloid, who gets a kick out of persuading the big Hollywood studios to strike new prints of their classic films so he can show them in Austin, who gets tickled at the prospect of running William Castle's old B-movie fright flick The Tingler with its original buzzer-in-the-seat gimmick or the movie version of Kiss Me Kate in 3-D, with everyone wearing glasses..."
"...The Safety Dance?..."
"...This quirked-out Austin quartet implicitly understands the virtues of infusing their guy's-guy rock aspirations with big-booty bounce. Steve Austin's all-meat drumming on tunes like "Girl," "She Spins," and "Satan's Legs" are models of dance-floor consistency..."
"...In the three years since, Dietz has also managed to direct a production despite a lack of directorial experience (Scavengers, 1997), write a short play on the idea of "holiday" despite having the theme assigned to him and only seven days to finish the script (The Best Salvage Vanguard Holiday Ever, 1997); and find a way to blend the Hindenburg, The Brady Bunch, Sam Spade, and Georges Seurat's Pointillist masterpiece Sunday Afternoon on the Isle of La Grande Jatte into a single dramatic entity (his play Dirigible, 1999, which was named "Outstanding New Script" by the Theatre Critics Table), all the while pursuing a master's in playwriting from UT (Blind Horses, his drama about Frank and Jesse James, was produced by the Department of Theatre & Dance last fall) and appearing in such Salvage Vanguard vehicles as Altamont Now and When You Know What It Is You're Doing. In short, he's proven himself to be something like the figure in the old Carl Sigman/Bob Russell standard "Crazy He Calls Me": "The difficult things I'll do right now/ The impossible will take a little while."..."
"...Once brightly colored novelties scattered lightly across our urban landscape, these attention grabbers have now become ubiquitous; no matter where you go, there one is. If it isn't one of the monster, city-consuming events such as SXSW, it may be one of the smaller but increasingly numerous arts festivals, such as FronteraFest, DANCEfest, MOMFest, Playfest, SculpFest, Texas Young Playwrights Festival, Harvest Festival of New American Plays, Latino Comedy Festival, New Texas Festival, Big Stinkin' International Improv and Sketch Comedy Festival, Chamber Music Festival, Austin Festival of Dance, African-American Festival of Dance, Clarksville Jazz and Arts Festival, AISD Fall String Festival, Fiesta, and isn't that the brand-spanking-new Texas Bach Festival just on the horizon? With so many cultural festivals popping up around town (and bumping up against each other on the calendar), the Chronicle Arts team decided to take a closer look at these events, to learn why so many local artists and companies are channeling their energies into organizing festivals, what challenges they pose for the producers, and what lessons the producers have learned from their festival experiences..."
"...6. Dead Can Dance, Toward the Within (4AD)..."
"...The insult of such painfully canned versions of "God Rest Ye Merry Gentlemen," "Silent Night," and "Little Drummer Boy" cannot be overstated, and even the blessedly snappy midway point, "The Gift," is no salve. With no dance skills, no ability to play instruments, and only marginal good looks, 98 Degrees could at least provide some spine-tingling harmonies..."
"...Offering beer, wine, and set-ups, the VFW-shaped, circus-themed, cinderblock establishment doesn't know the meaning of term "pretentious." Where else can bands share the stage with a large pink pachyderm whose trunk is curled around a martini glass? After a few intensity-building opening numbers, the basic quintet popped off the Forties classic "Is You Is, Or Is You Ain't My Baby?" followed by a respectable version of the Gillespie/Sizemore/Biese standard "Right or Wrong," a longing song made famous by Bob Wills & His Texas Playboys. Later, they caroused through the tongue-in-cheek swing standard "Jack You're Dead," followed by a twangy rendition of the Beatles' Rubber Soul gem "I've Just Seen the Face." Adding a needed dimension was featured vocalist Alan Barnet, whose singing often moved the small dance floor's throng from boot-scoot to sock-hop with his smooth, Fifties-era delivery, especially on the walking bass-driven "Fools Fall In Love." Second guitarist Norman, looking more Widespread Panic than Buck Owens, was Stringer's near-equal, especially on an unannounced, jumpy twin-Telecaster instrumental that christened the second set..."
"...For nearly three decades now, that's all band leader Ray Benson and company have been doing -- praying at the altar of the legendary King of Western Swing. Starting in West Virginia, rambling out to California, and then finally arriving at Ground Zero -- Texas -- where they've played every building worthy of the designation "dance hall," Benson and a few dozen different backing musicians have become the undisputed ministers of the country-jazz hybrid with which Wills is synonymous..."
"...More book than box per se, The Disco Box, compiled by Billboard and A&R veteran Brian Chin, is a 4-CD, 60-page tribute to the dancing queen. According to its producer, it also purports to "illuminate and document disco's other two elements: the music and the DJs." Huh? The haphazard, non-linear liner notes attempt to tell the real story of the club and DJ culture of the Seventies ooh-ooh dance scene, but succeed only at confounding anyone bothering to read the editor's nightmare..."
"...He was forever seeing them, reading them, talking aboutthem, writing about them, developing them, directing them, helping get them produced. And when he died suddenly in December, 1997 -- the victim of a tragic automobile accident -- Cohen's friends and colleagues spoke at great length and with great feeling about his passion for plays, and how evident it was in the work he did as head of the playwriting program in the UT Department of Theatre & Dance, as a founding member of the playwright support organization Austin Script Works, as a theatre critic for The Texas Triangle, as a dramaturg, as a teacher, as a mentor, as an audience member..."
"...The goal was an atmosphere of true democracy, where students would be "capable of choosing what it was they proposed to believe in, what their world was going to be." The school stayed open 24 years, existing on small tuition fees and almost yearly donations from the Forbes family. (Fortunately, the Forbes money came free of the bug-eyed piety associated with the family's present, presidentially minded incarnation.) This "mysteriously happy atmosphere," as Thornton Wilder once called it, "graduated" some 1,200 students, but more significantly, was pivotal in the development of such creative revolutionaries as avant-garde composer John Cage, visual artist Robert Rauschenberg, and dance innovator Merce Cunningham, among others...."
"...WED 11 N SYNC, Dance Across Texas..."
"...Suddenly, everyone wants a piece, be they filmmakers, actors, producers, buyers, distributors, agents, journalists, or garden-variety culture trendies. Nowhere is this more evident than at the Sundance Film Festival, where for 10 days every January these intersecting interests converge high up in the Wasatch Mountains in the tiny resort town of Park City, Utah (home of the next Winter Olympics)..."
"...Becoming "Oscar Snowden" jumpstarted the performer within D'Amour. She has always done some acting, but for the last few years she has been building a narrowly circulated though solid reputation as a dramatist, first with The Shape of Air, produced by the UT Department of Theatre & Dance, and then with My California, which D'Amour produced herself for FronteraFest '96..."
"...In fact, Hentges and her alternative aspirations are opportunities that the upstart label itself didn't have until now, given that the bulk of Robbins' current activity is centered around dance and hip-hop tracks on Billboard's "Hot 100" charts. Although radio trailblazing and transition have been traditionally dangerous affairs, particularly for the artists caught in the crossfire, Baddeley claims that because Hentges is the label's first rock release, Robbins wants to "absolutely break her the first time out and use all of our resources to do it."..."
"...onstage The Pilobolus Creature Modern dance fungus flourishesby Stephanie Beauchamp 38..."
"...Chromeo 6:35pm, Orange stage Self-proclaimed funklordz Chromeo know how to have a good time. The duo, Canadians David "Dave 1" Macklovitch and Patrick "P-Thugg" Gemayel, approach each set as a dance party, and each album, the latest being 2014's White Women, as an opportunity to share their satire..."
"...8pm, Bar 96 The original Chinese punks, Beijing brothers Gao Xing and Gao Yang have been kicking against the pricks with their Sham 69-style slam dance since 1994. Reforming last decade with a blend of Oi! and late-era Stiff Little Fingers, they perform for the first time in the U.S., first stateside visuals outside crackly old VHS footage from mid-Nineties basement gigs. Richard Whittaker Guantanamo Baywatch..."
"..."Wells Mason and I have traded art at each other's spaces the past few years, and I work with him through Generous Art – he's always fun and challenging himself to grow. I've known Lee Webster for years but got reacquainted with her through the dance scene and invited her..."
"...Sally Jacques calls them "youth in transition," referring to the young people with whom she and the teachers from her Blue Lapis Light aerial dance company have been collaborating for the past 18 weeks. They are youth who need a range of services and support and who may be new parents, unemployed, or even homeless..."
"...Jeanette Cunningham is one of those experts. A professional belly-dance instructor, she's been teaching at the Union for almost two decades..."
"...This Particular Leg of the Journey Began With Six Characters in Search of a Dance and Several Tiny Dance Steps Searching as Well. A Dance From the Middle of Winter...."
"..."He talks about going to work as a playwright the way anybody goes to a regular job, and that is a very refreshing ethos," says Suzan Zeder, head of the playwriting program at the UT Department of Theatre & Dance. "So it's not in all these esoteric terms..."
"...As Jan Seward recalls: "Bil drew his family of actors together, and the Friends of the Summer Musical was born. No professional fundraisers, just us actors, singers, and dancers working together to keep the project alive..."
"...The Texas plan was to bring in only three people from Los Angeles, Hudgins says, with the rest of the hires entirely local. Most states offering incentives hook them to the hiring of local crew, but Michigan is using its gaudy incentives to start a film industry from nothing, so they'll offer payments, as Hudgins puts it, for anyone who breathes. UTFI does a 'Dance'..."
"...Speaking of the Eighties, would you buy a used band from a man named Youth? Nor would we, but Jaz Coleman's seminal post-punk-industrial dirgers Killing Joke are the exception that proves the drool, having penned more maniacally memorable yet curiously danceable guitar-driven aural assaults than whatsisname from PIL ever dreamed of. Not content to rest on their spiky laurels, Coleman and co-conspirators Martin "Youth" Glover and (just) Geordie have just released the new Hosannas From the Basement of Hell, which, if all goes according to plan, will obliterate everything in its path...."
"...Need a clue as to what to expect from the local debut of musical sensation Karen Mason via Austin Cabaret Theatre? Try the title of her new CD: Sweetest of Nights. Its eclectic batch of ballads covers the cabaret spectrum from Berlin ("Let's Face the Music and Dance") to Aladdin (Menken and Rice's "A Whole New World") to ABBA ("The Winner Takes It All," a song Mason didn't get to sing during her Drama Desk-nominated turn as Tanya in Mamma Mia! on Broadway and makes up for here); it's also the kind of superlative that critics like to accord her work, whether she's wowing theatregoers as Norma Desmond in Sunset Boulevard in NYC or L.A., or wooing the cabaret crowd at Rainbow and Stars, the Algonquin, Feinstein's at the Regency, or the Russian Tea Room..."
"...But Kitch is back at the drawing board, working with local artists and administrators to refine the reforms. Then there was Tapestry Dance Company, which faced a financial crisis nearly as life-threatening to its season as the health crisis to Artistic Director Acia Gray the year before..."
"...The idea is to appeal to alumni who would like to preserve a piece of history while at the same time providing for the future of the university. If the initiative keeps to schedule, and plenty of people have their fingers crossed that it will, the restored Hogg would open in the fall of 2006, giving the Performing Arts Center a venue in which to book at least some midsized acts -- touring dance companies and musical acts not of the superstar variety -- and possibly even providing a hall where the opera, symphony, and ballet can perform before the first phase of the Long Center for the Performing Arts is finished in 2007 or later...."
"...It's frightening that in a time when the world is in such a precarious state, when broadcast and cable news sources are narrowly focused and the public stubbornly seeks shelter in a red, white, and blue security blanket, that what's on the air is so detached from reality. Are reality programs TV's version of all those Busby Berkeley musical extravaganzas during wartime, or the dance marathons and pole sitting demonstrations during the Depression? (A few months ago, magician David Blaine performed a similar stunt, standing atop of a pillar for 48 hours, falling into a mattress of cardboard boxes..."
"...MS/Nerve Dance Company is presenting a new piece next week, which is reason enough to go see them perform. But the company is devoting one of its three performances to a benefit for the continuation of specialized therapy for two-and-a-half-year old Javon Segal Phelps, the son of MS/Nerve artistic director Margery Segal and actor Jason Phelps..."
"...Sidney Brammer wrote about theatre and dance for The Austin Chronicle 1981-83. She is a filmmaker/screenwriter, screenwriting/directing instructor, and book editor...."
"...Robinson Jeffers: "I would burn my right hand in a slow fire/To change the future .../The beauty of modern/Man is not in the persons but in the/Disastrous rhythm, the heavy and mobile masses, the dance of the/Dream-led masses down the dark mountain."..."
"...It's jazz and samba and reggae and salsa. It's bossa nova and baião [a dance from Brazil's northeast]..."