Tag Archives: john lennon

DAVID BOWIE IS

Heroes contact sheet, 1977 (photograph by Masayoshi Sukita. © Sukita/The David Bowie Archive)

Heroes contact sheet, 1977 (photograph by Masayoshi Sukita. © Sukita/The David Bowie Archive)

Brooklyn Museum
200 Eastern Parkway at Washington St.
Morris A. and Meyer Schapiro Wing and Iris and B. Gerald Cantor Gallery, fifth floor
Daily through July 15, $20-$35
212-864-5400
www.brooklynmuseum.org

Any major career survey of gender-bending, genre-redefining, multidisciplinary, intergalactic superstar David Bowie must be innovative, unique, cutting-edge, and unusual, for nothing less would do justice to the man born David Jones in Brixton in 1947. The Brooklyn Museum’s “David Bowie is,” the most successful exhibition in the institution’s history, is just that, an illuminating exploration of the actor, musician, singer-songwriter, fashion icon, painter, video artist, husband, father, and more. Given unprecedented access to Bowie’s personal archive, the wide-ranging, highly ambitious, immersive multimedia presentation collects hundreds of items, from sketches of his parents to his baby pictures, from handwritten lyric sheets to books that influenced him, from posters of his early bands to drawings of his costumes and sets for live performances, among a multitude of other memorabilia and paraphernalia. One section is devoted to a single song, “Space Oddity,” with video, photographs, screenprints, album artwork, music sheets, related toys, and more, another looks at his various stage personas (the Thin White Duke, Ziggy Stardust, Hamlet), and another explores his work in film and theater, including Labyrinth, The Man Who Fell to Earth, The Elephant Man, The Last Temptation of Christ, Basquiat, and The Image. A five-minute clip from the 1969 promotional film Love You till Tuesday features “The Mask (A Mime),” in which Bowie performs as a mime.

Original lyrics for “Ziggy Stardust,” by David Bowie, 1972. Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum

Original lyrics for “Ziggy Stardust,” by David Bowie, 1972 (Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum)

Organized by the Victoria and Albert Museum in London, the show gets everything right that MoMA’s 2015 disaster, “Björk,” got wrong. Purchasing timed tickets in advance, visitors traverse the exhibition at their own pace and in whatever order they would like, wearing headphones that, in a move of genius, react to where they are physically. Thus, when you’re in front of a video screen depicting Bowie performing “The Man Who Sold the World” on Saturday Night Live, that is what you are hearing. Turn around and take a few steps in any direction and the audio will switch to whatever you are now looking at, whether it’s an interview with designer Kansai Yamamoto, Bowie’s preparations for the never-made Diamond Dogs film, or a small room dedicated to his final record, Blackstar. There is something to experience in almost every nook and cranny, so sometimes it is fun to let the audio guide you, attracted by what you hear instead of what you see.

David Bowie with William Burroughs, February 1974. Photograph by Terry O'Neill with color by David Bowie. Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum

David Bowie with William Burroughs, February 1974 (Photograph by Terry O’Neill with color by David Bowie. Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum)

Among the items to watch out for are a series of line drawings that serves as an artistic conversation between Bowie and Laurie Anderson; Guy Peellaert’s original painting for the Diamond Dogs album cover; the original lyrics to “Rebel, Rebel”; a Bowie painting of Iggy Pop in a Berlin landscape; a letter from Jim Henson to Bowie about Labyrinth; a John Lennon sketch (“For Video Dave . . .)”; Bowie’s script for the Lazarus musical; a Bowie doodle on a cigarette pack; a telefax from Elvis Presley; and Bowie’s charcoal drawing of his adopted home, New York City. The exhibition culminates in high style in a room blasting the original “Heroes” video and live footage of “Rebel, Rebel” from the Reality Tour and “Heroes” from the Concert for New York City, headphones off, everyone experiencing transcendence as one. “Though nothing, nothing will keep us together / We can beat them, forever and ever / Oh, we can be heroes just for one day,” Bowie declares, leaving behind a remarkable legacy that will continue to keep people together, believing that every one of us has the possibility of being a hero. On July 7 (exhibition ticket required, 8:00), Resonator Collective will perform a Bowie tribute, on July 14 ($16, 2:00), there will be a conversation between Daphne Brooks and Jack Halberstam about Bowie’s lasting influence, and on July 15 ($16, 2:00), the final day of the exhibit, the museum hosts the discussion “The Soulfulness of David Bowie” with Carlos Alomar, Robin Clark, and Christian John Wikane. After seeing the exhibit, you’ll have yet more ways to end the already tantalizing sentence fragment “David Bowie is . . .”

RICHARD LESTER — THE RUNNING JUMPING POP CINEMA ICONOCLAST: A HARD DAY’S NIGHT

A HARD DAY’S NIGHT

The Fab Four are on the run in A HARD DAY’S NIGHT, screening at Lincoln Center as part of Richard Lester retrospective

A HARD DAY’S NIGHT (Richard Lester, 1964)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. between Eighth Ave. & Broadway
Saturday, August 8, 1:00
Festival runs August 7-13
212-875-5050
www.filmlinc.org
www.thebeatles.com

The Beatles are invading America again with the fiftieth anniversary restoration of their debut film, the deliriously funny anarchic comedy A Hard Day’s Night. Initially released on July 6, 1964, in the UK, AHDN turned out to be much more than just a promotional piece advertising the Fab Four and their music. Instead, it quickly became a huge critical and popular success, a highly influential work that presaged Monty Python and MTV while also honoring the Marx Brothers, Buster Keaton, Jacques Tati, and the French New Wave. Directed by Richard Lester, who had previously made the eleven-minute The Running Jumping & Standing Still Film with Peter Sellers and would go on to make A Funny Thing Happened on the Way to the Forum, Petulia, and The Three Musketeers, the madcap romp opens with the first chord of the title track as John Lennon, Paul McCartney, George Harrison, and Ringo Starr are running down a narrow street, being chased by rabid fans, but they’re coming toward the camera, welcoming viewers into their crazy world. (George’s fall was unscripted but left in the scene.) As the song blasts over the soundtrack, Lester introduces the major characters: the four moptops, who are clearly having a ball, led by John’s infectious smile, in addition to Paul’s “very clean” grandfather (Wilfrid Brambell, who played a dirty old man in the British series Steptoe and Son, the inspiration for Sanford and Son) and the band’s much-put-upon manager, Norm (Norman Rossington). Lester and cinematographer Gilbert Taylor (Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, Repulsion, Star Wars) also establish the pace and look of the film, a frantic black-and-white frolic shot in a cinema-vérité style that is like a mockumentary taking off from where François Truffaut’s 400 Blows ends. The boys eventually make it onto a train, which is taking them back to their hometown of Liverpool, where they are scheduled to appear on a television show helmed by a hapless director (Victor Spinetti, who would star in Help as well) who essentially represents all those people who are dubious about the Beatles and the sea change going on in the music industry. Norm and road manager Shake (John Junkin) have the virtually impossible task of ensuring that John, Paul, George, and Ringo make it to the show on time, but there is no containing the energetic enthusiasm and contagious curiosity the quartet has for experiencing everything their success has to offer — while also sticking their tongues out at class structure, societal trends, and the culture of celebrity itself.

Lester and Oscar-nominated screenwriter Alun Owen develop each individual Beatle’s unique character through press interviews, solo sojourns (the underappreciated Ringo goes off on a kind of vision quest; George is mistaken by a fashion fop for a model), and an endless stream of spoken and visual one-liners. (John sniffs a Coke bottle; a reporter asks George, “What do you call your hairstyle?” to which the Quiet One replies, “Arthur.”) Oh, the music is rather good too, featuring such songs as “I Should Have Known Better,” “All My Loving,” “If I Fell,” “Can’t Buy Me Love,” “I’m Happy Just to Dance with You,” “This Boy,” and “She Loves You.” The working name for the film was Beatlemania, but it was eventually changed to A Hard Day’s Night, based on a Ringo malapropism, forcing John and Paul to quickly write the title track. No mere exploitation flick, A Hard Day’s Night is one of the funniest, most influential films ever made, capturing a critical moment in pop-culture history and unleashing four extraordinary gentlemen on an unsuspecting world. Don’t you dare miss this glorious eighty-five-minute explosion of sheer, unadulterated joy. The restoration, courtesy of Janus Films, is screening August 8 at the Walter Reade Theater as part of the Film Society of Lincoln Center tribute series “Richard Lester: The Running Jumping Pop Cinema Iconoclast” and will be preceded by The Running Jumping & Standing Still Film. The festival runs August 7-13 and consists of most of the now-eighty-three-year-old Philadelphia native’s films, including Robin and Marian, The Bed Sitting Room, Juggernaut, Cuba, The Royal Flash, and the above-mentioned titles. “Growing up, I always thought of Richard Lester as one of the 1960s’ most typically English filmmakers — not just because of his irreverent and absurd sense of humor and his feel for English life but also for the affectionate way he sent up familiar icons from the Beatles to the Three Musketeers to even Superman,” Film Comment editor and FSLC senior programmer Gavin Smith said in reference to the series. “Imagine my surprise when I first learned he was actually an expat Yank. Regardless, he’s still a great English filmmaker!”

TWO EVENINGS OF FILMS WITH YOKO ONO

RAPE will be the focus of one of two special evenings in which Yoko Ono will screen and discuss her film work

RAPE will be the focus of one of two special evenings in which Yoko Ono will screen and discuss her film work

MoMA Film, Museum of Modern Art
The Lewis B. and Dorothy Cullman Education and Research Building
4 West 54th St. between Fifth & Sixth Aves.
Monday, July 13, and Wednesday, July 15, 7:30
Tickets: $12, in person only, may be applied to museum admission within thirty days, same-day screenings free with museum admission, available at Film and Media Desk and online beginning at 9:30 am
212-708-9400
www.moma.org

MoMA’s excellent “Yoko Ono: One Woman Show, 1960–1971” sheds new light on the seminal period of the Tokyo-born multimedia artist’s career, comprising music, photographs, sculpture, interactive performances, memorabilia and ephemera, paintings, films, and instruction pieces. “Ono’s art from this period is run through with a complex interplay between her own absence and presence,” Klaus Biesenbach writes in the extensive exhibition catalog. “Over time, Ono was able to turn her complex handling of artistic presence and absence into a sophisticated treatment of a public image, which allowed her to reach a broad audience with her artistic and political messages.” The artist will be present at MoMA this week for a pair of special presentations of her films and videos. On Monday, July 13, “An Evening with Yoko Ono and Chrissie Iles” will explore Ono’s musical oeuvre through well-known conceptual films and rare footage, followed by a discussion between Ono and Whitney curator Chrissie Iles. On Wednesday, July 15, “An Evening with Yoko Ono and Alexandra Munroe” examines Ono’s 1969 feature-length collaboration with husband John Lennon, Rape, along with the shorts Film No. 4 (Bottoms) and Takahiko Iimura’s Ai (Love), followed by a conversation between Ono and Guggenheim senior curator Alexandra Munroe, who refers to Ono as “one of my dearest friends. Whether sitting around a kitchen table or in more canonized theatres, at this point in our relationship, the most valued time I spend with her are the conversations we have together.” In the catalog, Clive Phillpot explains, “Lennon biographer Ray Coleman claimed that [Rape] ‘parodied the story of the Beatles’ escalator to success,’ but it is much more likely that it reflected what curator Chrissie Iles described as ‘the tension and fear felt by Ono and Lennon as the intrusive press and public attention generated by their fame became increasingly harder to bear.’” The exhibition itself includes such marvelous Ono films as Fly, Cut Piece, Eyeblink, and Film No. 5 (Smile).

THE 34th ANNUAL JOHN LENNON TRIBUTE

Photographer Bob Gruen will be honored at 34th annual John Lennon Tribute concert at Symphony Space (photo © 1974 by Bob Gruen)

Photographer Bob Gruen will be honored at 34th annual John Lennon Tribute concert at Symphony Space (photo © 1974 by Bob Gruen)

Symphony Space, Peter Jay Sharp Theatre
2537 Broadway at 95th St.
Friday, December 5, $65-$105, 8:00
212-864-5400
www.symphonyspace.org
www.lennontribute.org

The life of John Lennon is currently being celebrated eight times a week at the Union Square Theatre with Lennon: Through a Glass Onion, in which John R. Waters portrays the Smart Beatle. The legacy of the longtime New Yorker will also be honored on December 5 at Symphony Space with the 34th annual John Lennon Tribute. Presented by Theatre Within and Music Without Borders, the evening will consist of Lennon songs performed by a fab lineup of special guests: Debbie Harry, Kate Pierson, David Johansen, Joan Osborne, Joe Raiola, Amy Helm, Marshall Crenshaw, Ben E. King, Rich Pagano, the Kennedys, and Chrissi Poland. In addition, legendary photographer Bob Gruen, who took the iconic photos of Lennon in his New York City T-shirt, will receive a special honor. The evening benefits Theatre Within’s John Lennon Real Love Project, which “offers children and young adults in medical care centers, schools, and communities in need the unique opportunity to compose their own songs.”

A HARD DAY’S NIGHT

A HARD DAY’S NIGHT

Fiftieth anniversary restoration of A HARD DAY’S NIGHT is playing July 4-17 at Film Forum

A HARD DAY’S NIGHT (Richard Lester, 1964)
Film Forum
209 West Houston St.
Opens July 4, 12:45, 3:00, 5:10, 7:30, 9:45
212-727-8110
www.filmforum.org
www.thebeatles.com

The Beatles are invading America again with the fiftieth anniversary restoration of their debut film, the deliriously funny anarchic comedy A Hard Day’s Night. Initially released on July 6, 1964, in the UK, AHDN turned out to be much more than just a promotional piece advertising the Fab Four and their music. Instead, it quickly became a huge critical and popular success, a highly influential work that presaged Monty Python and MTV while also honoring the Marx Brothers, Buster Keaton, Jacques Tati, and the French New Wave. Directed by Richard Lester, who had previously made the eleven-minute The Running Jumping & Standing Still Film with Peter Sellers and would go on to make A Funny Thing Happened on the Way to the Forum, Petulia, and The Three Musketeers, the madcap romp opens with the first chord of the title track as John Lennon, Paul McCartney, George Harrison, and Ringo Starr are running down a narrow street, being chased by rabid fans, but they’re coming toward the camera, welcoming viewers into their crazy world. (George’s fall was unscripted but left in the scene.) As the song blasts over the soundtrack, Lester introduces the major characters: the four moptops, who are clearly having a ball, led by John’s infectious smile, in addition to Paul’s “very clean” grandfather (Wilfrid Brambell, who played a dirty old man in the British series Steptoe and Son, the inspiration for Sanford and Son) and the band’s much-put-upon manager, Norm (Norman Rossington). Lester and cinematographer Gilbert Taylor (Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, Repulsion, Star Wars) also establish the pace and look of the film, a frantic black-and-white frolic shot in a cinema-vérité style that is like a mockumentary taking off from where François Truffaut’s 400 Blows ends.

The boys eventually make it onto a train, which is taking them back to their hometown of Liverpool, where they are scheduled to appear on a television show helmed by a hapless director (Victor Spinetti, who would star in Help as well) who essentially represents all those people who are dubious about the Beatles and the sea change going on in the music industry. Norm and road manager Shake (John Junkin) have the virtually impossible task of ensuring that John, Paul, George, and Ringo make it to the show on time, but there is no containing the energetic enthusiasm and contagious curiosity the quartet has for experiencing everything their success has to offer — while also sticking their tongues out at class structure, societal trends, and the culture of celebrity itself. Lester and Oscar-nominated screenwriter Alun Owen develop each individual Beatle’s unique character through press interviews, solo sojourns (the underappreciated Ringo goes off on a kind of vision quest; George is mistaken by a fashion fop for a model), and an endless stream of spoken and visual one-liners. (John sniffs a Coke bottle; a reporter asks George, “What do you call your hairstyle?” to which the Quiet One replies, “Arthur.”) Oh, the music is rather good too, featuring such songs as “I Should Have Known Better,” “All My Loving,” “If I Fell,” “Can’t Buy Me Love,” “I’m Happy Just to Dance with You,” “This Boy,” and “She Loves You.” The working name for the film was Beatlemania, but it was eventually changed to A Hard Day’s Night, based on a Ringo malapropism, forcing John and Paul to quickly write the title track. No mere exploitation flick, A Hard Day’s Night is one of the funniest, most influential films ever made, capturing a critical moment in pop-culture history and unleashing four extraordinary gentlemen on an unsuspecting world. The fiftieth-anniversary restoration, courtesy of Janus Films, is screening July 4-17 at Film Forum; don’t you dare miss this glorious eighty-five-minute explosion of sheer, unadulterated joy.

SUMMER OF SURREALISM: THE HOLY MOUNTAIN

The beautiful weirdness never ends in Jodorowsky cult classic THE HOLY MOUNTAIN

LIVE SOUND CINEMA: THE HOLY MOUNTAIN (Alejandro Jodorowsky, 1973)
Nitehawk Cinema
136 Metropolitan Ave. between Berry St. & Wythe Ave.
Friday, June 27, and Saturday, June 28, $16, 12:05 am
Series runs June 27 – July 26
212-924-7771
www.nitehawkcinema.com
www./twitter.com/alejodorowsky

Inspired by Rene Daumal’s Mount Analogue: A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing, Alejandro Jodorowsky’s The Holy Mountain also involves symbolically non-Euclidean adventures in mountain climbing, funneled through Carlos Castaneda, Stanley Kubrick’s 2001: A Space Odyssey, and magic mushrooms and LSD galore. What passes for narrative follows a Jesus look-alike thief (Horacio Salinas) and an alchemist with a thing for female nudity (Jodorowsky) on the path to enlightenment; along the way they encounter the mysterious Tarot, stigmata, stoning, eyeballs, frogs, flies, cold-blooded murder, naked young boys, chakra points, life-size plaster casts, Nazi dancers, sex, violence, blood, gambling, turning human waste into gold, death and rebirth, and the search for the secret of immortality via representatives of the planets, each with their own extremely bizarre story to tell. Jodorowsky, who is credited with having invented the midnight movie with the 1970 acid Western El Topo, literally shatters religious iconography in a kaleidoscopic whirlwind of jaw-droppingly gorgeous and often inexplicable imagery composed from a surreal color palette, set to a score by free jazz trumpeter Don Cherry and Archies keyboardist Ron Frangipane. (Frangipane also worked with John Lennon and Yoko Ono, who produced this film with their business manager, Allen Klein.)

The Holy Mountain — which brings a whole new insight to Matthew Barney’s Cremaster Cycle — is filled with psychedelic mysticism centered around the human search for transcendence in a wilderness of the sacred and profane. Jodorowsky’s work can move you deeply, but don’t expect it to make much sense. Sit back and let in pour in and over you — you’ll feel it. You may hate it, but you’ll feel it. Although you’ll definitely hate the very end. The Holy Mountain is kicking off Nitehawk Cinema’s “Summer of Surrealism” series, screening June 27 & 28 at 12:05 am with a live score by Guizot; meanwhile, Jodorowsky’s brilliant, surreal autobiographical The Dance of Reality is playing an extended run at the Landmark Sunshine. The Nitehawk festival, influenced by the forthcoming January 2015 publication of Adam Lowenstein’s Dreaming of Cinema: Spectatorship, Surrealism, and the Age of Digital Media, continues through July 26 with such other crazy films as David Lynch’s Inland Empire, Richard Lester’s The Bed Sitting Room, Wes Craven’s original A Nightmare on Elm Street, and Jim Jarmusch’s Dead Man.

NYC FABMANIA WEEK

fabmania

On February 7, 1964, John Lennon, Paul McCartney, George Harrison, and Ringo Starr landed at JFK to a wild welcome as they came to America for the first time to appear on The Ed Sullivan Show. New York City is paying tribute to that seminal moment in the history of the Fab Four with Fabmania Week, featuring a host of special events celebrating this golden anniversary. The centerpiece of it all is the fortieth anniversary of the Fest for Beatles Fans, taking place February 7-9 at the Grand Hyatt in Midtown ($32.50-$225). Among the many guests are Cousin Brucie (broadcasting live), Donovan, Billy J. Kramer, Peter Asher, Chad & Jeremy, Freda Kelly, Bob Guren, and Allan Tannenbaum; the Fest also features a re-creation of the Cavern Club, screenings of Ryan White’s Good Ol’ Freda, a marketplace of memorabilia, look-alike and costume contests, and yoga sessions in an ashram, in addition to book signings, art exhibitions, and other tributes. On February 6, Donovan, Asher, Kramer, Kelly, Vince Calandra, and moderator Martin Lewis will take part in the friends-of-the-Beatles panel discussion “It Was 50 Years Ago Today . . . Celebrating 50 Years of the Beatles in the USA” at the 92nd St. Y ($15-$29, 8:15). The Morrison Hotel Gallery exhibit “50th Anniversary of the Beatles’ First US Tour,” curated by Julian Lennon, opens on February 7 and runs through February 28, consisting of twenty-five images, some never before shown in public, of John, Paul, George, and Ringo taken by such photographers as Ken Regan, Charles Trainor, Curt Gunther, Robert Whitaker, Rowland Scherman, and Terry O’Neill.

Curt Gunther’s photograph of the Beatles playing with slot cars is included in Morrison Hotel Gallery exhibit curated by Julian Lennon (photo © Curt Gunther, 1964)

Curt Gunther’s photograph of the Beatles playing with slot cars is included in Morrison Hotel Gallery exhibit curated by Julian Lennon (photo © Curt Gunther, 1964)

The New York Public Library for the Performing Arts will be home to the multimedia exhibition “Ladies and Gentlemen . . . the Beatles!” from February 6 through May 10, examining the effects Beatlemania had on American pop culture during the mid-1960s, comprising interviews, instruments, posters, music, and an oral history booth where fans can share their own memories; there will also be a free symposium on February 9 in the library’s Bruno Walter Auditorium with presentations by Bruce Spizer (“The Beatles Are Coming! The Birth of Beatlemania in America”), Dennis Elsas (“It Was 50 Years Ago Today — The Beatles Invade America”), Chuck Gunderson (“Some Fun Tonight! The Backstage Story of the 1964 Summer North American Tour”), Allan Kozinn (“Studio Days / Touring Years”), and Russ Lease (“The Drop-T Logo and the Most Significant Drumkit in Popular Music History”), emceed by curator Robert Santelli. On February 8, the Town Hall will hold the “America Celebrates the Beatles’ 50th Anniversary All-Star Concert” ($63-$272, 7:30), with a wide-ranging lineup playing songs by and inspired by the Liverpudlian quartet, including Melissa Manchester, Tommy James, Al Jardine, Danny Aiello, Marshal Crenshaw, Larry Kirwin, Aztec Two-Step, Melanie, along with appearances by such Beatles fans as Dick Cavett, Len Berman, the Amazing Kreskin, and Charles Grodin. And on February 8 & 9 at 1:00, the Paley Center will present “The Beatles Invasion 50-Year Celebration: See the Fab Four on the Big Screen, Yeah, Yeah, Yeah,” with showings of the complete Ed Sullivan Show broadcast from February 9, 1964, and the Maysles brothers’ original What’s Happening! The Beatles in the U.S.A. documentary.