100,000+ Wonderful Pieces of Theater Ephemera Digitized by The New York Public Library

ERoosevelt

Liv­ing in New York, it’s not unusu­al to encounter ardent the­ater lovers who’ve care­ful­ly pre­served decades worth of pro­grams, tick­ets, and ephemera from every play they’ve ever seen. These col­lec­tions can get a bit hoarder‑y, as any­one who’s ever sort­ed through the belong­ings of a recent­ly depart­ed life­long audi­ence mem­ber can attest.

If the­ater is dead — as gloomy Cas­san­dras have been pre­dict­ing since the advent of screens — these mono­liths of Play­bills and stubs con­sti­tute one hell of a tomb.

Sound of Music

(Go ahead, toss that 1962 pro­gram to The Sound of Music…and why not dri­ve a stake through poor Uncle Mau­rice’s cold, dead heart while you’re at it? All he ever want­ed was to sit, eyes shin­ing in the dark, and maybe hang around the stage door in hopes of scor­ing Acad­e­my Award win­ner, Warn­er Bax­ter’s auto­graph, below. )

Warner Baxter

For those of us who con­ceive of the­atre as a still-liv­ing enti­ty, the New York Pub­lic Library’s recent deci­sion to start dig­i­tiz­ing its Bil­ly Rose The­atre Divi­sion archive is cause for cel­e­bra­tion. Such grand scale com­mit­ment to this art form’s past ensures that it will enjoy a robust future. Hope­ful­ly some­day all of the approx­i­mate­ly 10 mil­lion items in the Bil­ly Rose archive can be accessed from any­where in the world. But, for now, you can start with over 100,000 items. The com­par­a­tive­ly small per­cent­age avail­able now is still a boon to direc­tors, design­ers, writ­ers, and per­form­ers look­ing for inspi­ra­tion.

It’s also wild­ly fun for those of us who nev­er made it much past play­ing a poin­set­tia in the sec­ond grade hol­i­day pageant.

KHepburn

Tru­ly, there’s some­thing for every­one. The library sin­gles out a few tan­ta­liz­ing morsels on its web­site:

A researcher can exam­ine a 1767 pro­gram for a per­for­mance of Romeo and Juli­et in Philadel­phia, study Katharine Hepburn’s per­son­al papers (ed. note: wit­ness the many moods of Kate, above), review Elia Kazan’s work­ing script and notes for the orig­i­nal pro­duc­tion of A Street­car Named Desire, exam­ine posters for Har­ry Houdini’s per­for­mances, read a script for an episode of Cap­tain Kan­ga­roo, view set designs for the orig­i­nal pro­duc­tion of Guys & Dolls and cos­tume designs for the Ziegfeld Fol­lies, ana­lyze a video­tape of the orig­i­nal pro­duc­tion of A Cho­rus Line, and find rich sub­ject files and scrap­books that doc­u­ment the most pop­u­lar and obscure per­for­mances from across the cen­turies. 

Comedy

You might also prowl for Hal­loween cos­tumes. What kid wouldn’t want to trick or treat as one of Robert Ten Eyck Stevenson’s 1926 designs for the Green­wich Vil­lage Fol­lies?

Salome

There’s cer­tain­ly no shame in moon­ing over a for­got­ten star… for the record, the one above is Alla Naz­i­mo­va in Salomé.

BMcQueen

And there’s some­thing gal­va­niz­ing about see­ing a famil­iar star escap­ing the con­fines of her best known role, the only one for which she is remem­bered, truth be told…

For me, the hands down pearl of the col­lec­tion is the telegram at the top of the page. For­mer First Lady Eleanor Roo­sevelt sent it Gyp­sy Rose Lee to her­ald the re-open­ing of Gyp­sy, the musi­cal based on her life.

For the unini­ti­at­ed, telegrams were once an open­ing night tra­di­tion, as was stay­ing up to read the review in the ear­ly edi­tion, hot off the press.

More infor­ma­tion on vis­it­ing the archive, online or in per­son, can be found here.

Relat­ed Con­tent:

Take a Vir­tu­al Tour of Shakespeare’s Globe The­atre

New York Pub­lic Library Puts 20,000 Hi-Res Maps Online & Makes Them Free to Down­load and Use

2,200 Rad­i­cal Polit­i­cal Posters Dig­i­tized: A New Archive

Ayun Hal­l­i­day is an author, illus­tra­tor, and per­former, whose lat­est play, Fawn­book, opens in New York this fall. Fol­low her @AyunHalliday

How to Dance Your Dissertation: See the Winning Video in the 2014 “Dance Your PhD” Contest

We’ve seen how mod­ern dance can explain key con­cepts in sta­tis­tics (e.g. cor­re­la­tion and sam­pling error). So why could­n’t dance also illus­trate the con­clu­sions of a plant biol­o­gy doc­tor­al dis­ser­ta­tion?

Uma Nagen­dra, a grad­u­ate stu­dent at the Uni­ver­si­ty of Geor­gia, has just won the 2014 edi­tion of the “Dance Your Ph.D.” con­test. Spon­sored by Sci­ence and High­Wire Press, the con­test asks grad stu­dents to “explain their Ph.D. research in the most jar­gon-free medi­um of all: dance.” (More cri­te­ria can be found over at the con­test’s tips & tricks page.) Accord­ing to Sci­ence mag­a­zine, Nagen­dra likes to spend “a good deal of her [free] time hang­ing upside down from a trapeze doing cir­cus aeri­als.” It’s a cre­ative out­let for her. And it offers a good way, it turns out, to visu­al­ize the con­clu­sions of her dis­ser­ta­tion explor­ing “Plant-soil feed­backs after severe tor­na­do dam­age.”

The “Dance Your Ph.D.” con­test allows each con­tes­tant to sub­mit a video with a short piece of descrip­tive text. Here is what Nagen­dra wrote:

Many of the pat­terns we see in forests around the world are caused by the rela­tion­ships that plants have with organ­isms in the soil. Some very diverse forests can only sup­port as many dif­fer­ent tree species as they do because soil-borne dis­eases pre­vent any one species from tak­ing over. But what hap­pens when a tor­na­do comes along? Do the plants and soil organ­isms main­tain this diver­si­ty-pro­mot­ing rela­tion­ship?

My PhD research focus­es on how sev­er­al dif­fer­ent species of tree seedlings in the south­ern Appalachi­an moun­tains inter­act with soil organisms—and how tor­na­does might mix things up. I study many dif­fer­ent species. As an exam­ple, we can look at white pine (Pinus strobus), and the many pathogens that attack the roots of its seedlings.

The dance begins in an undis­turbed for­est. Because trees live for so long in one place, a mature pine tree accu­mu­lates a unique group of fun­gi around its roots—including pathogens that cause dis­eases in tree seedlings (in this case, Pythi­um and Rhi­zoc­to­nia). White pine seedlings that are very close to a mature tree are more like­ly to be attacked by these pathogens—causing stunt­ed growth, or even death. The far­ther away a seedling is from a mature tree, the less like­ly it is to get infect­ed. These dis­tant seedlings are more like­ly to sur­vive to matu­ri­ty. A pat­tern emerges where the mature pine trees are spaced far apart—leaving room for seedlings of oth­er species to grow, and cre­at­ing a diverse for­est.

In the mid­dle of the dance, we wit­ness the tornado—and how it changes the for­est envi­ron­ment. The mature pine tree dies, and the for­est floor is no longer shad­ed. The soil becomes hot­ter and dri­er. With­out the liv­ing mature tree as a host, spe­cial­ist pathogens are less active, and many die. Because of this, I am pre­dict­ing that plant-soil rela­tion­ships in recent­ly tor­na­do-dam­aged areas may be much weak­er. In the last part of the dance, seedlings close to the (killed) mature tree are no longer at greater risk for dis­ease; they grow and sur­vive the same as their more dis­tant sib­lings. The chang­ing plant-soil rela­tion­ships after dis­tur­bances might be one piece in the puz­zle of how diverse ecosys­tems change over time.

via Explore

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Relat­ed Con­tent:

Sta­tis­tics Explained Through Mod­ern Dance: A New Way of Teach­ing a Tough Sub­ject

The Illus­trat­ed Guide to a Ph.D.

Ser­i­al Entre­pre­neur Damon Horowitz Says “Quit Your Tech Job and Get a Ph.D. in the Human­i­ties”

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Ballet Dancers Do Their Hardest Moves in Slow Motion

The Wash­ing­ton Post went behind the scenes at the Wash­ing­ton Bal­let to get “six pro­fes­sion­al dancers to show off the most dif­fi­cult moves in their reper­toire.” If this intrigues you, you can turn back to a 2012 post where we fea­tured Mari­na Kan­no and Gia­co­mo Bevilaqua, both from the Staats­bal­lett Berlin, per­form­ing sev­er­al jumps, each cap­tured in slow motion at 1000 frames per sec­ond. And it’s all set to Radiohead’s “Every­thing In Its Right Place.” Enjoy.

via The Cre­ators Project/Boing Boing

Relat­ed Con­tent:

Le Bal­let Mécanique: The His­toric Cin­e­mat­ic Col­lab­o­ra­tion Between Fer­nand Legér and George Antheil

James Brown Gives You Danc­ing Lessons: From The Funky Chick­en to The Booga­loo

Sta­tis­tics Explained Through Mod­ern Dance: A New Way of Teach­ing a Tough Sub­ject

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Neil deGrasse Tyson Moonwalking

A cou­ple weeks ago, we showed you the Pre-His­to­ry of Michael Jackson’s Moon­walk, high­light­ing a med­ley of the fan­cy foot moves of Cab Cal­loway, Sam­my Davis Jr., Fred Astaire and some less­er-known fig­ures like Rub­ber­neck Holmes and Earl “Snake­hips” Tuck­er. Some­one could just as eas­i­ly make anoth­er mon­tage, a Post-His­to­ry of Michael Jack­son’s Moon­walk, and it would sure­ly have to include the clip above. It fea­tures our favorite astro­physi­cist Neil deGrasse Tyson strut­ting his stuff at StarTalk Live last year. In the back­ground, you can see anoth­er great moon­walk­er, Buzz Aldrin, on the stage.

Episode #9 of Tyson’s Cos­mos reboot airs on Fox tonight. US view­ers can watch episodes 1–8 on Hulu here. The orig­i­nal Cos­mos with Carl Sagan appears here.

Relat­ed Con­tent:

Neil deGrasse Tyson Lists 8 (Free) eBooks Every Intel­li­gent Per­son Should Read

Watch Episode #1 of Neil deGrasse Tyson’s Cos­mos Reboot on Hulu (US View­ers)

Neil deGrasse Tyson on the Stag­ger­ing Genius of Isaac New­ton

Neil deGrasse Tyson Talks Aster­oid Physics & “Non New­ton­ian Solids” with Inspir­ing 9‑Year-Old Stu­dent

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The Origins of Michael Jackson’s Moonwalk: Vintage Footage of Cab Calloway, Sammy Davis Jr., Fred Astaire & More

Michael Jack­son took one giant leap for pop his­to­ry on March 25, 1983 when he gave an ador­ing pub­lic their first taste of his sig­na­ture moon­walk in hon­or of Motown Records’ 25th birth­day. (See below)

Nov­el­ty-wise, it was­n’t quite a Neil Arm­strong moment. Like many artists, Jack­son had many prece­dents from which he could and did draw. He can be cred­it­ed with bring­ing a cer­tain atti­tude to the pro­ceed­ings. The expert prac­ti­tion­ers in the video above are more ebul­lient, tap­ping, slid­ing and pro­to-moon­walk­ing them­selves into a state of rap­ture that feeds off the audi­ence’s plea­sure.

The line-up includes artists lucky enough to have left last­ing foot­prints—Cab Cal­loway, Sam­my Davis Jr., Fred Astaire, as well as those we’d do well to redis­cov­er: Rub­ber­neck Holmes, Earl “Snake­hips” Tuck­er, Buck and Bub­bles.…

Lack­ing the Inter­net, how­ev­er, it does seem unlike­ly that Jack­son would’ve spent much time por­ing over the foot­work of these mas­ters. (He may have tak­en a sar­to­r­i­al cue from their socks.)

Instead, he invest­ed a lot of time break­ing down the street moves, what he referred to in his auto­bi­og­ra­phy as “a ‘pop­ping’ type of thing that black kids had cre­at­ed danc­ing on the street cor­ners in the ghet­to.”

Jack­son’s sis­ter, LaToya, iden­ti­fied for­mer Soul Train and Sol­id Gold dancer Jef­frey Daniel, below, as her broth­er’s pri­ma­ry tutor in this endeav­or. (He went on to co-chore­o­graph Jack­son’s videos for “Bad” and “Smooth Crim­i­nal”.) As to the sto­ry behind his moon­walk, or back­slide as he called it before Jack­son’s ver­sion oblit­er­at­ed the pos­si­bil­i­ty of any oth­er name, Daniel gave props to the same kids Jack­son did.

For those of you who men­tioned it on Twit­ter and in our com­ments, we’ve added Char­lie Chap­lin’s scene in Mod­ern Times.

via Metafil­ter

Relat­ed Con­tent:

Keep­ing Jacko in Per­spec­tive

James Brown Gives You Danc­ing Lessons: From The Funky Chick­en to The Booga­loo

Yoko Ono, Age 80, Still Has Moves, Dances with The Beast­ie Boys, Ira Glass, Rober­ta Flack & Friends

Ayun Hal­l­i­day is the author of sev­en books, and cre­ator of the award win­ning East Vil­lage Inky zine. Fol­low her @AyunHalliday

Every Appearance James Brown Ever Made On Soul Train. So Nice, So Nice!

Are you ready for some Super Broth­er Music for the Soul?

Yes? How for­tu­itous! We just hap­pen to have 45 min­utes worth of James Brown Soul Train appear­ances from the early-to-mid-’70s to share. Get down!

It’s worth not­ing that Brown’s band, the JBs, were the only ones in the his­to­ry of the show who host Don Cor­nelius trust­ed to play live. The God­fa­ther of Soul ran a tight ship, fin­ing band mem­bers for sour notes and untidy cos­tumes, and it shows. The dance show’s stage was tight, but the per­for­mances here are even tighter, as lean and mean as those funkadel­ic Cur­tis Gib­son ensem­bles!

If your New Year’s Eve plans pale in com­par­i­son with the playlist below, can­cel them and stay in. Feel good. So good. We got you.

Hot Pants

Get Up (I Feel Like A) Sex Machine 2:36

Get On The Good Foot 4:06

Soul Pow­er 6:51

Make It Funky 9:53

Cold Sweat 11:07

Try Me 14:22

Please Please, Please 17:21

Say It Loud I’m Black and I’m Proud 17:57

Super Bad 23:53  (fea­tur­ing Soul Train Gang dancer Dami­ta Jo Free­man’s insane Robot)

Papa Don’t Take No Mess 26:18

My Thang 29:57

Hell 33:33 (the lit­tle girl shar­ing the stage is Brown’s daugh­ter, Dean­na)

The Pay­back 35:57

Damn Right, I Am Some­body 40:25 (with Fred Wes­ley & the JB’s)

via That Eric Alper

Relat­ed Con­tent: 

James Brown Gives You Danc­ing Lessons: From The Funky Chick­en to The Booga­loo

James Brown Saves Boston After MLK’s Assas­si­na­tion, Calls for Peace Across Amer­i­ca (1968)

James Brown Brings Down the House at the Paris Olympia, 1971

Ayun Hal­l­i­day is the author of sev­en books, includ­ing No Touch Mon­key! And Oth­er Trav­el Lessons Learned Too Late  and the Zinester’s Guide to NYC. Fol­low her @AyunHalliday

Yoko Ono, Age 80, Still Has Moves, Dances with The Beastie Boys, Ira Glass, Roberta Flack & Friends

Yoko Ono, a Bad Dancer?

Pshaw! As she’s very like­ly aware, there’s not a thing wrong with her danc­ing. If there were, I doubt she’d be sport­ing saucy hot pants in the above video for the first sin­gle off of the Plas­tic Ono Band’s Take Me to the Land of Hell.

Her 80-year-old stems are in fan­tas­tic shape. May­haps this youth­ful vibe is a reflec­tion of the com­pa­ny she keeps. A bunch of nifty pals from Gen­er­a­tions X and Y showed up to shake their tail feath­ers on camera—the sur­viv­ing Beast­ie Boys (who also pro­duced), Reg­gie Watts, Cibo Mat­to’s Yuka Hon­da and Miho Hatori, gen­der-bend­ing per­former Justin Vivian Bond, and pub­lic radio star Ira Glass, to name but a few.

Appar­ent­ly, she’s not quite as tight with all her dance part­ners as the video would imply. Glass describes his involve­ment thus­ly:

She’s gra­cious, has to be remind­ed by a han­dler who in the world I am. Then total­ly acts nice, says some­thing along the lines of “I appre­ci­ate the work you do” which either means she’s heard my work or she hasn’t…. The song is called “Bad Dancer” so I’m the per­fect par­tic­i­pant because—though I love to dance, I have no illu­sions. I’m a spaz. I stand in front of the cam­era and 20 han­dlers and hip­sters and pub­li­cists and crew and Yoko Ono and I think a reporter from Rolling Stone and I tell myself to pre­tend I can do this and I dance.

Per­haps declar­ing her­self a Bad Dancer is Ono’s way of encour­ag­ing self-con­scious wall hug­gers to drop their inhi­bi­tions and join in the fun. It’s an approach to life, and aging, that made a cult clas­sic of Harold and Maude.

Place your bets

Watch your step

I’m a bad dancer

With no regrets

 Relat­ed Con­tent:

Yoko Ono’s Make-Up Tips for Men

Watch John Lennon and Yoko Ono’s Two Appear­ances on The Dick Cavett Show in 1971 and 72

Dis­cov­ered: Con­ver­sa­tion with John Lennon, Yoko Ono, and Tim­o­thy Leary at Mon­tre­al Bed-In (1969)

Ayun Hal­l­i­day still gets a bang out of Yoko Ono’s FLY. Fol­low her @AyunHalliday-

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