twi-ny recommended events

TRIBECA TV FESTIVAL 2019

Forest Whitaker will be at the Tribeca TV Festival this week to talk about his new show, Godfather of Harlem

Regal Cinemas Battery Park
260 West 23rd St at Eighth Ave.
September 12-15, $30
tribecafilm.com

The third annual Tribeca TV Festival, brought to you by the folks behind the Tribeca Film Festival, takes place September 12-15 at Regal Cinemas Battery Park, offering four days of new shows, season premieres, a musical finale, and a tribute to a 1990s classic. This year’s offerings come from a wide array of providers — CBS, Apple TV+, BET+, EPIX, Amazon Prime, the CW, STARZ, HULU, Freeform, and HBO — and feature appearances by James Spader, Whoopi Goldberg, Steven Soderbergh, Jill Soloway, Mark and Jay Duplass, Hailee Steinfeld, John Green, Jane Krakowski, Dennis Quaid, Judith Light, Billy Bob Thornton, Pam Grier, Forest Whitaker, Lake Bell, Ahmir “Questlove” Thompson, and Christine Lahti, among others. Tickets to all events are $30; screenings will be followed by discussions moderated by writers from TV Guide, Vulture, the New Yorker, Entertainment Weekly, and other pop-culture purveyors.

Thursday, September 12
Tribeca Talks: James Spader with Whoopi Goldberg, Regal 11, 6:00

Godfather of Harlem: New Series World Premiere, with Chris Brancato, Paul Eckstein, Ilfenesh Hadera, and Forest Whitaker, moderated by Jelani Cobb, Regal 5, 6:30

Room 104: Season 3 World Premiere, with Mark Duplass and Sydney Fleischmann, moderated by Jen Chaney, Regal 11, 8:00

First Wives Club: Special Screening, with Tracy Oliver, Michelle Buteau, Ryan Michelle Bathe, and RonReaco Lee, moderated by Breanne Heldman, Regal 5, 9:00

James Spader will sit down with Whoopi Goldberg at Tribeca TV Festival

James Spader will sit down with Whoopi Goldberg to talk about The Blacklist and more at Tribeca TV Festival

Friday, September 13
Twenty-Fifth Anniversary Celebration of Friends: A Conversation with the Series’ Executive Producers, with David Crane, Marta Kauffman, and Kevin Bright, Regal 11, 6:00

Goliath: Season 3 World Premiere, with Lawrence Trilling, Billy Bob Thornton, Nina Arianda, Tania Raymonde, Amy Brenneman, Dennis Quaid, and Shamier Anderson, moderated by Damian Holbrook, Regal 5, 7:00

Hip Hop: The Songs that Shook America: New Series Premiere, with One9, Erik Parker, Ahmir “Questlove” Thompson, Tarik “Black Thought” Trotter, and Angie Day, moderated by Lola Ogunnaike, Regal 11, 8:15

Saturday, September 14
Katy Keene: New Series World Premiere, with Michael Grassi, Roberto Aguirre-Sacasa, Lucy Hale, Julia Chan, Jonny Beauchamp, Katherine LaNasa, Zane Holtz, Camille Hyde, Ashleigh Murray, and Lucien Laviscount, moderated by Damian Holbrook, Regal 5, 3:00

Party of Five: New Series Sneak Preview, with Amy Lippman, Chris Keyser, Michal Zebede, Brandon Larracuente, Niko Guardado, Emily Tosta, and Elle Paris Legaspi, moderated by Gio Benitez, Regal 11, 5:30

Evil: New Series Premiere, with Robert King, Michelle King, Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Kurt Fuller, moderated by Evan Real, Regal 5, 6:00

Bless This Mess: Season 2 World Premiere, with Lake Bell, Dax Shepard, and Pam Grier, Regal 11, 8:00

Dickinson: World Premiere, with Alena Smith, Hailee Steinfeld, and Jane Krakowski, Regal 5, 8:30

Sunday, September 15
Looking for Alaska: New Series World Premiere, with John Green, Josh Schwartz, Stephanie Savage, Charlie Plummer, Kristine Froseth, Denny Love, and Jay Lee, moderated by Kathryn VanArendonk, Regal 11, 2:30

Tribeca Talks: Hasan Minhaj, Regal 5, 4:00

Leavenworth: New Series World Premiere, with Steven Soderbergh, Paul Pawlowski, Mike McGuiness, David Philipps, and John Maher, Regal 11, 5:30

Closing Night: Transparent — Series Musical Finale, with Jill Soloway, Faith Soloway, Judith Light, Jay Duplass, Alexandra Billings, and Shakina Nayfack, Regal 5, 6:00

LOVETT OR LEAVE IT LIVE

lovett

Who: Jon Lovett, Stacey Abrams, Desus and Mero, Wyatt Cenac, Dulcé Sloan, Alyssa Mastromonaco
What: Live broadcast of Lovett or Leave It
Where: Radio City Music Hall, 1260 Sixth Ave. at Fiftieth St.
When: Friday, September 13, $39-$79, 8:00
Why: Every Friday night, producer and former speechwriter Jon Lovett hosts Lovett or Leave It, a political podcast about the week in review recorded live in Los Angeles; recent episodes include “Dunaway or the Highway,” “Gays Against Equinox,” “Hot Inslee Summer,” “Big Not So Little Lies,” and “Send Him Back,” with such guests as Larry Wilmore, Jay Inslee, Matt Walsh, Julian Castro, and Andy Richter. On September 13, Lovett, the cofounder (with Jon Favreau and Tommy Vietor) of Crooked Media, which produces such other podcasts as Keep It, Pod Save America, and Hysteria, brings his show to the East Coast, hosting the program at Radio City Music Hall with former Georgia House Democratic leader Stacey Abrams, Showtime’s Desus and Mero, Problem Areas’ Wyatt Cenac, The Daily Show’s Dulcé Sloan, and former White House deputy and bestselling author Alyssa Mastromonaco, looking at the events of the past seven days, which keep getting crazier and crazier. There will also be related games and quizzes.

CARMEN PAPALIA: MOBILITY DEVICE

Carmen Papalia’s Mobility Device moves onto the High Line on September 11-12 (photo by John Spiak; courtesy of Grand Central Arts Center)

The High Line
Wednesday, September 11
6:30 performance begins at 34th St., traveling southeast
7:00 performance begins at the Spur at 30th St., traveling northwest
Thursday, September 12
7:00 performance begins at Gansevoort St., traveling north
7:30 performance begins at 16th St., traveling south
Admission: free, no RSVP required
646-774-2536
www.thehighline.org
carmenpapalia.com

Originally performed at the Grand Central Art Center in Santa Ana California in 2013 and two years later at the Victoria & Albert Museum in London, Carmen Papalia’s Mobility Device now moves to the High Line for site-specific performances on September 11 and 12. Free with no advance RSVP necessary, Mobility Device has two different start times at two distinct locations each night. Artist and disability activist Papalia, a Vancouver native, transforms his detection cane for the event, redefining how public spaces are used by everyone while raising questions of perceptual mobility and accessibility; people with disabilities are strongly encouraged to attend. He will be accompanied by the eighteen-piece Hungry March Band, playing a site-reactive score; the audience can follow the brass ensemble, as if it is a detection cane leading the way for the visually impaired, or find viewing areas, some with seating, along the routes.

SARAH JONES: SELL/BUY/DATE

Sarah Jones plays multiple characters in futuristic one-woman show about commercial sex trade (photo © Joan Marcus 2016)

New York Live Arts
219 West 19th St. between Seventh & Eighth Aves.
September 12-15 & 18-21, $15-$50, 7:30
212-924-0077
newyorklivearts.org
www.sarahjonesonline.com

Following its 2016 Manhattan Theater Club presentation, Sarah Jones’s Sell/Buy/Date is back in the city for an encore engagement at New York Live Arts. Below is an update of twi-ny’s original review, with relevant information added.

In 2006, British playwright and actress Sarah Jones won a Special Tony Award (and an earlier Obie) for her one-woman show Bridge and Tunnel, in which she played multiple characters, shining a light on New York City’s immigrant population. It took a decade, but she returned three years ago with her follow-up, another one-woman multiple-identity tour de force, Sell/Buy/Date, which revives some characters from her previous works while adding new ones; the production is now back by popular demand, running at New York Live Arts September 12-15 and 18-21. It’s late-twenty-first-century America, and Dr. Serene Campbell is teaching a class on the sex business, leading her students through a series of BERT modules, bio-empathetic resonant technology that dates back to 2017. Using this imaginary technology like oral histories, she tells her students, “We will be experiencing different bodies, different ages, what were then called ‘races’ or ‘ethnic groups,’ as you’ll remember from Unit One, and along the gender continuum, we’ll be encountering males as well as females — it was quite binary at that time. Remember, these are Personal History modules — the focus today is on feeling each person’s experience, so, before we begin, how many people have your emotional shunts engaged?”

She then proceeds to embody seventeen characters interviewed throughout the decades about the commercial sex trade, examining the reaction in the recent past to prostitution, pornography, and exotic dancing. “Chronologically advanced” Jewish bubbe Lorraine L. talks about trying to enhance her sexual relationship with her husband by searching for porn on the internet. Post–Valley Girl Bella, named after feminist activist Bella Abzug, is a “sex work studies major, minoring in social media with a concentration on notable YouTube memes” who cohosts “the biweekly pole-dancing party . . . called ‘Don’t Get All Pole-emical.” Jamaican No Fakin’ is a Caribbean prostitute at a sex workers rally who is carrying an unseen sign that says “No Justice, No Piece.” She defends what she does, noting, “You find me somebody who don’t hate some part of their job. There’s a lotta things I hate about doing this, but the money is not one of them.” And New York Domini-Rican Nereida angrily declares, “It just makes me so sick that we are all supposed to care about the same human rights, at least, that’s why we’re all here for this Feminist Plenary, but I mean, if one more of these so called ‘sex work advocates’ calls me anti-sex, I swear to god. I’m gonna be, like, first of all, I love sex. Sex is amazing. But what you are having is not sex.”

Dr. Campbell also calls up interviews of members of the male species as she walks around Dane Laffrey’s futuristic set, a spare, antiseptic classroom with a podium, a file cabinet, a floor sparsely outlined with lights, and a projection screen at the back. “Yes, of course men were having sex as well, but you’ll remember from the reading, what were male sluts called?” she asks the class. “Very good, they were called ‘men.’” Among the male characters in the show are frat boy and Grand Theft Auto fan Andrew “AV” Vanderbeek, Russian raunchpreneur Sergei Ledinov, Los Angeles pimp Cookie Chris (“Even with what I was doing, you know, exploiting women and whatnot, I had a rep for being real sweet about it”), and Native American comedian Gary (“I’m usually most popular on college campuses, whenever they wanna do their Diversity Day or Hey, We’re Not All White week”). But as much as the treatment of women and sex workers needs to change, not all change turns out to be progress.

Sarah Jones explores the history of the (photo © Joan Marcus 2016)

Sarah Jones explores a controversial aspect of human sexuality in Sell/Buy/Date (photo © Joan Marcus 2016)

Jones (The Foundation, Surface Transit), who was born in Baltimore and raised in Boston, DC, and Queens in a multiracial family, has created a fascinating future devoid of organized religion, bachelor parties, unpaid internships, personal security guards, violent video games, a livable New Jersey, and mobile phones, where people can travel freely between countries and there is no discrimination of any kind. “They did not believe one has an automatic right to live equally,” Dr. Campbell says about people from the past. It’s a potent point, especially given the vitriol present in this year’s lurid presidential election campaign. In researching Sell/Buy/Date, Jones met with sex workers around the world, visiting Sweden, Germany, Korea, India, Las Vegas, France, Ireland, Scotland, the Netherlands, and the Dominican Republican, helping her create believable men and women who share a wide range of thoughts about commercial sex. She smartly captures the humanity in the industry, even if it is a bit lighthearted at times for such a serious topic, while Drama Desk–nominated director Carolyn Cantor (Fly by Night, Indian Summer) ably uses sound (by Bray Poor) and light (by Eric Southern) to smoothly transition between time periods. However, a subplot involving Dr. Campbell’s mother’s identity as a “survivor” feels like a forced tribute to those who have paved the way for gender equality. Jones, who once declared, “The revolution will not happen between these thighs” (the late Gil Scott-Heron was a family friend), gives a superb performance, instantly taking control of the audience; she has a natural confidence as a teacher that is intoxicating. Sell/Buy/Date offers a lively and timely look at a controversial subject that has continued to raise eyebrows throughout the centuries.

TRANSFORMED OVERNIGHT: THE IMPACT OF 9/11

Wolfgang Staehle, Untitled, 2001, live video projection (diptych), unique

Wolfgang Staehle, Untitled, live video projection (diptych), unique, 2001

The Cathedral Church of St. John the Divine
1047 Amsterdam Ave. at 112th St.
Wednesday, September 11, free with advance RSVP, 7:00 am – 7:00 pom
212-316-7540
www.stjohndivine.org

On September 11, 2001, German-born, New York City-based artist Wolfgang Staehle had two webcams in Brooklyn focused on Lower Manhattan, taking time-lapse photos at four-second intervals for a monthlong live-streaming exhibition at Postmasters Gallery that had begun the week before. Titled 2001, it was meant to show everyday life in the city, from a distance. He ended up capturing the unspeakable tragedy that befell the World Trade Center. For the eighteenth anniversary of the terrorist attacks that killed nearly three thousand innocent people and injured six thousand more, the Cathedral Church of St. John the Divine is teaming up with the 9/11 Memorial & Museum to present “Transformed Overnight: The Impact of 9/11,” consisting of twelve hours of Staehle’s footage in real time, from 7:00 in the morning to 7:00 in the evening. At the time, Magdalena Sawon of Postmasters noted about the gallery show, “Until last Monday one could see a beautiful scene of the iconic New York skyline, with boats and blimps and incredible sunsets as the day progressed. Tuesday morning it looked like our world ended as the projection captured all stages of the catastrophe. Now the smoke has settled and it’s back to the transformed skyline with a disorienting gap where the towers stood before. As difficult as it is for me and the gallery audiences to see this image, the key intent of the work was (and remains) to continuously stream in an unedited and unaltered reality, updating the idea of landscape using the tools of our time.” Watching the events of that day nearly twenty years later should be powerful inside the mighty St. John the Divine; admission is free with advance RSVP.

BAD NEWS! I was there…

Eight messengers descend to deliver tragic tales in JoAnne Akalaitis’s BAD NEWS! I was there . . . (photo by Ian Douglas)

NYU Skirball Center for the Performing Arts
566 La Guardia Pl. at at Washington Square South
September 6-8, $40
212-992-8484
nyuskirball.org

The good news is that five-time Obie winner JoAnne Akalaitis’s BAD NEWS! I was there . . . is a salient, pertinent, and entertaining work. The bad news is that it’s all too true. Initially workshopped five years ago at Poet’s House and debuting at the Guthrie last year, BAD NEWS! is a clarion call that relates Greek tragedy to what is happening around the world today. The ninety-minute show takes audiences, divided into four groups, through numerous spaces in NYU’s Skirball Center, where it continues through September 8; in each location, two messengers in yellow safety vests with flashlights in the pocket over their heart deliver tales of disaster, murder, catastrophe, suicide, violence, butchery, incest, and war as a young child (Jah-Sire Burnside, Devin Coleman, Donovan Coleman, and Riley Velazquez) sits nearby, reading superhero comic books. The audience is separated from the performers by yellow caution tape, a constant reminder of impending doom. “In death there is nothing but death,” the cast says in unison.

JoAnne Akalaitis’s BAD NEWS! I was there . . . takes audiences all around the NYU Skirball Center (photo by Ian Douglas)

The dialogue and songs (the music is by Bruce Odland), presented in English, Greek, Latin, French, and German, have been adapted from classical literature by Sophocles, Euripedes, Lucius Annaeus Seneca, Jean Racine, and Aeschylus, translated by Anne Carson, Bertolt Brecht, Ezra Pound, W. B. Yeats, Ted Hughes, Caryl Churchill, and others. Eight seminal tragic figures are represented: Medea (Katie Lee Hill), Thyestes (Jenny Ikeda), the Bacchae (Rocco Sisto), Phèdre (Kelley Curran), Oedipus (Howard Overshown), Antigone (Henry Jenkinson), Orestes (Jasai Chase Owens), and Hecuba (Rachel Christopher). Guides (Ahsan Ali, Maya Carte, ESJAE, Josh Fulton, ALEXA GRÆ, Chloé Worthington, Isabella Peterson, Milo Longenecker, and Aigner Mizzelle) carry lights as they lead the groups through narrow hallways, up and down stairs, and into various rooms; they also serve as a Greek chorus, singing in unison in the background. Along the way, white sheets with the title of the show written in what looks like blood hover. Curiously, there are not enough chairs to seat everyone at each stop, so if you can stand, let the elderly, infirm, or pregnant sit down.

Immersive production at Skirball Center warns of impending doom (photo by Ian Douglas)

As you watch one section, you can clearly hear snippets from at least one other part (the first four scenes run concurrently and can be seen in any order), creating a cacophony of bad news, as if you’re being overwhelmed by social media and television reports. (Julie Archer designed the sets and costumes, with lighting by Jennifer Tipton and sound by Odland.) It all culminates in a grand finale that brings all four groups together, making one last stand. Created and directed by Akalaitis, the cofounder of Mabou Mines and former head of the New York Shakespeare Festival, BAD NEWS! is about bearing witness, in the past and the present; it asks us to pay attention to what is going on across the globe and to speak up when we see danger. “I was there and I will tell you everything” is the play’s constant refrain. (For example, when no Holocaust survivors are left on earth, what happens to their stories, especially with so many conspiracy theorists claiming it’s a hoax, and so many people on the internet believing them?) The show is accompanied by a multimedia lobby installation on Greek tragedy, supplemented with articles on the refugee crisis, Donald Trump, neo-Nazis, and other current events, and the audience is asked to write down their own personal bad news on a sheet of paper. After the performance, you’re encouraged to have a free drink, talk about what you just experienced, and read aloud one of the anonymous pieces of bad news. “I speak the truth. All evils are revealed,” one character says early on. The actors are not just delivering tragic news from ancient tales; they’re warning us about today, and tomorrow. And that’s a good thing, if only more people would listen.

PLAY IT LOUD: INSTRUMENTS OF ROCK AND ROLL

Joan Jett Melody Maker, 1977 Gibson (photo by twi-ny/mdr)

Joan Jett’s 1977 Melody Maker Gibson is part of Met exhibition “Play It Loud” (photo by twi-ny/mdr)

Metropolitan Museum of Art, Met Fifth Ave.
Gallery 199
1000 Fifth Ave. at 82nd St.
Through Through October 1, $25 suggested admission
212-535-7710
www.metmuseum.org

In 2011, the Met hosted “Guitar Heroes: Legendary Craftsmen from Italy to New York,” focusing on the lutherie tradition of Italian Americans in New York and New Jersey, artisans making violins, mandolins, guitars, and other stringed instruments. In the current exhibition “Play It Loud: Instruments of Rock & Roll,” the Met turns it up to eleven, celebrating the stringed and nonstringed apparatus of rock and pop music since the 1950s. In Mott the Hoople’s 1973 staple “All the Way from Memphis,” Ian Hunter refers to his guitar as a “six-string razor,” an “axe,” and “electric junk.” He continues: “Some dude said, ‘Rock ’n’ rollers, you’re all the same / Man, that’s your instrument.’ / I felt so ashamed.” Ian and Mott might not be represented in the Met exhibit — or in the Rock and Roll Hall of Fame — but there’s nothing for anyone to be ashamed of regarding this exciting collection of nearly two hundred items, with most of the instruments displayed in vitrines, like sculptural works of art, which of course they are.

Keith Emerson’s 1960s Modified Hammond L-100 organ features two knives Emerson would stab the keys with (photo by twi-ny/mdr)

Don’t go straight to the labels, which contain information about who made the instrument and who played it on what songs; it’s a lot of fun trying to figure out whose instrument it is. You’re likely to guess twangers by Rick Nielsen of Cheap Trick, Prince, Bo Diddley, Buddy Holly, Ravi Shankar, and Bruce Springsteen, but others will surprise and delight you. One of the first items you’ll encounter is Jerry Lee Lewis’s 1955 Petite Grand Piano; for some reason, the signage refers to Lewis, who is eighty-three, in the past tense. Among the many gems are Chuck Berry’s 1958 Gibson, Louis Jordan’s 1954 Mark VI alto saxophone, Muddy Waters’s 1958 Telecaster known as “the Hoss,” Les Paul’s 1942 “Klunker,” Jimi Hendrix’s 1967 “Love Drops” Flying V, Joni Mitchell’s 1978 GB10NT George Benson Signature, Jack White’s 1964 Airline Res-O-Glas, Joe Perry’s 1985-86 X-100 Blade Runner, Stevie Ray Vaughan’s 1963 “Number One” composite Stratocaster, Robert Trujillo’s 2007–08 “Aztec De La Chloe” five-string bass, Keith Emerson’s 1968 Customized Moog Modular Synthesizer with keyboard, ribbon controllers, and stand, Ian Anderson’s 1975 Model 18-0 flute, Lady Gaga’s 2014 ARTPOP piano with custom housing, and Paul Stanley’s 1979–80 Cracked Mirror Iceman in addition to instruments played by Duane Allman, the Edge, Angus Young, Jeff Beck, Flea, Patti Smith, Ray Manzarek, Paul Butterfield, Nancy Wilson, Clarence Clemons, Steve Vai, Neil Young, Tina Weymouth, Bob Dylan, and dozens more.

Met exhibition is not just about classic guitars (photo by twi-ny/mdr)

These are not mere artifacts; Jerry Garcia’s Wolf was taken out of the museum so John Mayer could play it at a recent Dead & Co. show at CitiField, and a Stones guitar is out on the road with the band right now. There are several striking guitars from Met fave Steve Miller, who will playing a show in the Grace Rainey Rogers Auditorium on September 28 and contributed to the 2011 “Guitar Heroes” exhibit. Don’t miss Kurt Cobain’s destroyed 1993 left-handed Fender Stratocaster, Eric Clapton’s trippy 1964 “The Fool” SG (and the original headstock, which earns its own vitrine), Pete Townshend’s 1973 Gibson SG Special (which he smashed during a photo shoot and is now encased in Lucite), and a fragment of Hendrix’s 1967 Monterey Pop Fender Stratocaster, which he famously lit on fire. Four guitar greats tell their stories in a circular case that houses their gear and video monitors: Jimmy Page, Keith Richards, Eddie Van Halen, and Tom Morello. (Having seen Morello shred live, I understand exactly why he’s part of this elite quartet.) Several bands display their stage setup, including the Beatles, the Who, Metallica, and the Roots. The exhibition, which was inspired by Brad Tolinski and Alan di Perna’s book Play It Loud: An Epic History of the Style, Sound, and Revolution of the Electric Guitar and is co-organized by the Met’s Jayson Kerr Dobney and the Hall of Fame’s Craig J. Inciardi, is supplemented by vintage concert posters by Lee Conklin, Bonnie MacLean, Rick Griffin, and others. It’s easy to argue why certain musicians are not part of the show (What, no Richard Thompson or Lou Reed?!? Where’s Ritchie Blackmore, Bob Mould, and Johnny Ramone?), but it’s better to just enjoy who is in it. Below are the remaining special events being held in conjunction with the exhibition, which runs through October 1.

Prince’s 1993 Love Symbol captures his trademark glyph (photo by Cathy Hapka for twi-ny)

Saturday, September 7
Black Rock Coalition: History of Our Future, with the BRC Orchestra, Fantastic Negrito, Nona Hendryx, Vernon Reid, Corey Glover, and Will Calhoun, “Captain” Kirk Douglas, Stew, the Family Stand, Carl Hancock Rux, and Toshi Reagon, Grace Rainey Rogers Auditorium, $25, 7:00

Sunday, September 8
Sunday at the Met — Play It Loud: Instruments of Rock and Roll, panel discussion with Anthony DeCurtis, David Fricke, Holly George-Warren, Jayson Dobney, and Craig J. Inciardi, Grace Rainey Rogers Auditorium, free with Museum admission, 2:00

Friday, September 13
MetFridays: Play It Loud — ETHEL and Friends: Four for Fighting, Great Hall Balcony Bar, 5:00–8:00; screening of Woodstock (Michael Wadleigh, 1970), Bonnie J. Sacerdote Lecture Hall, 6:00; Conversations with . . . curators Jayson Dobney and Craig J. Inciardi, Gallery 199, 6:00; Signs and Symbols of Rock and Roll, with designers from ThoughtMatter, a band-name generator, and a button workshop, Great Hall, 6:00; Building Instruments with Atelier Rosenkrantz, Gallery 681, 6:00; Tie-Dye Workshop, Carroll Classroom, 6:00; Reflections on Woodstock with Chris Molanphy, Art Study Room, 6:30; Lez Zeppelin Live, preceded by discussion with Steph Paynes and Brad Tolinski, free with advance RSVP, Grace Rainey Rogers Auditorium, 7:15; all free with museum admission, 5:00–9:00

Saturday, September 28
Steve Miller Band and Jimmie Vaughan Band in Concert, Grace Rainey Rogers Auditorium, 7:00