Stage Dance Performance Quotes

When you step from the wings onto the stage you go from total blackness to a blinding hot glare. After a moment you adjust, but there is that moment. like being inside lightning.

Dress the part! Invent and pretend to your heart’s content! Act, sing, and dance while everyone’s watching! The world’s a stage, remember?

O VENENO ARDENTE DO DESGOSTO. THE WHITE HOT POISON OF ANGER. When others make us angry at them- at their shamelessness, injustice, inconsideration- then they exercise power over us, they proliferate and gnaw at our soul, then anger is like a white-hot poison that corrods all mild, noble and balanced feelings and robs us of sleep. Sleepless, we turn on the light and are angry at the anger that has lodged like a succubus who sucks us dry and debilitates us. We are not only furious at the damage, but also that it develops in us all by itself, for while we sit on the edge of the bed with aching temples, the distant catalyst remains untouched by the corrosive force of the anger that eats at us. On the empty internal stage bathed in the harsh light of mute rage, we perform all by ourselves a drama with shadow figures and shadow words we hurl against enemies in helpless rage we feel as icy blazing fire in our bowels. And the greater our despair that is only a shadow play and not a real discussion with the possibility of hurting the other and producing a balance of suffering, the wilder the poisonous shadows dance and haunt us even in the darkest catacombs of our dreams. (We will turn the tables, we think grimly, and all night long forge words that will produce in the other the effect of a fire bomb so that now he will be the one with the flames of indignation raging inside while we, soothed by schadenfreude, will drink our coffee in cheerful calm.) What could it mean to deal appropriately with anger? We really don't want to be soulless creatures who remain thoroughly indifferent to what they come across, creatures whose appraisals consist only of cool, anemic judgments and nothing can shake them up because nothing really bothers them. Therefore, we can't seriously wish not to know the experience of anger and instead persist in an equanimity that wouldn't be distinguished from tedious insensibility. Anger also teaches us something about who we are. Therefore this is what I'd like to know: What can it mean to train ourselves in anger and imagine that we take advantage of its knowledge without being addicted to its poison? We can be sure that we will hold on to the deathbed as part of the last balance sheet- and this part will taste bitter as cyanide- that we have wasted too much, much too much strength and time on getting angry and getting even with others in a helpless shadow theater, which only we, who suffered impotently, knew anything about. What can we do to improve this balance sheet? Why did our parents, teachers and other instructors never talk to us about it? Why didn't they tell something of this enormous significance? Not give us in this case any compass that could have helped us avoid wasting our soul on useless, self-destructive anger?

I watch the beautiful performance with an ache in my chest. Then, just when I can’t stand the sadness anymore, a dancer floats out from the side of the stage. A dancer in ragged clothes, filthy and half starved. He’s not even in ballet shoes. He’s just barefoot as he glides out to take his place in the dance. The other dancers turn to him, and it’s clear that he is one of them. One of the lost ones. By the look on their faces, they weren’t expecting him. This is not part of the practiced show. He must have seen them onstage and joined in. Amazingly, the dance continues without a missed beat. The newcomer simply glides into place, and the final dancer who should have danced solo with her missing partner dances with the newcomer. It is full of joy, and the ballerina actually laughs. Her voice is clear and high, and it lifts us all.

Life is a great big beautiful three-ring circus. There are those on the floor making their lives among the heads of lions and hoops of fire, and those in the stands, complacent and wowed, their mouths stuffed with popcorn. I know less now than ever about life, but I do know its size. Life is enormous. Much grander than what we’ve taken for ourselves, so far. When the show is over and the tent is packed, the elephants, lions and dancing poodles are caged and mounted on trucks to caravan to the next town. The clown’s makeup has worn, and his bright, red smile has been washed down a sink. All that is left is another performance, another tent and set of lights. We rest in the knowledge: the show must go on. Somewhere, behind our stage curtain, a still, small voice asks why we haven’t yet taken up juggling. My seminars were like this. Only, instead of flipping shiny, black bowling balls or roaring chainsaws through the air, I juggled concepts. The world is intrinsically tied together. All things march through time at different intervals but move ahead in one fashion or another. Though we may never understand it, we are all part of something much larger than ourselves—something anchoring us to the spot we have mentally chosen. We sniff out the rules, through spiritual quests and the sciences. And with every new discovery, we grow more confused. Our inability to connect what seems illogical to unite and to defy logic in our understanding keeps us from enlightenment. The artists and insane tiptoe around such insights, but lack the compassion to hand-feed these concepts to a blind world. The interconnectedness of all things is not simply a pet phrase. It is a big “T” truth that the wise spend their lives attempting to grasp.

Sometimes the stage terrifies me,” I confessed. “But being here alone like this, it’s freeing.” Solitude can be freeing,” he said.

The night sky transforms into a magical stage, where stars perform an eternal dance upon the fluid ripples of time.

Fame requires every kind of excess. I mean true fame, a devouring neon, not the somber renown of waning statesmen or chinless kings. I mean long journeys across gray space. I mean danger, the edge of every void, the circumstance of one man imparting an erotic terror to the dreams of the republic. Understand the man who must inhabit these extreme regions, monstrous and vulval, damp with memories of violation. Even if half-mad he is absorbed into the public's total madness; even if fully rational, a bureaucrat in hell, a secret genius of survival, he is sure to be destroyed by the public's contempt for survivors. Fame, this special kind, feeds itself on outrage, on what the counselors of lesser men would consider bad publicity-hysteria in limousines, knife fights in the audience, bizarre litigation, treachery, pandemonium and drugs. Perhaps the only natural law attaching to true fame is that the famous man is compelled, eventually, to commit suicide. (Is it clear I was a hero of rock'n'roll?) Toward the end of the final tour it became apparent that our audience wanted more than music, more even than its own reduplicated noise. It's possible the culture had reached its limit, a point of severe tension. There was less sense of simple visceral abandon at our concerts during these last weeks. Few cases of arson and vandalism. Fewer still of rape. No smoke bombs or threats of worse explosives. Our followers, in their isolation, were not concerned with precedent now. They were free of old saints and martyrs, but fearfully so, left with their own unlabeled flesh. Those without tickets didn't storm the barricades, and during a performance the boys and girls directly below us, scratching at the stage, were less murderous in their love of me, as if realizing finally that my death, to be authentic, must be self-willed- a succesful piece of instruction only if it occured by my own hand, preferrably ina foreign city. I began to think their education would not be complete until they outdid me as a teacher, until one day they merely pantomimed the kind of massive response the group was used to getting. As we performed they would dance, collapse, clutch each other, wave their arms, all the while making absolutely no sound. We would stand in the incandescent pit of a huge stadium filled with wildly rippling bodies, all totally silent. Our recent music, deprived of people's screams, was next to meaningless, and there would have been no choice but to stop playing. A profound joke it would have been. A lesson in something or other. In Houston I left the group, saying nothing, and boarded a plane for New York City, that contaminated shrine, place of my birth. I knew Azarian would assume leadership of the band, his body being prettiest. As to the rest, I left them to their respective uproars- news media, promotion people, agents, accountants, various members of the managerial peerage. The public would come closer to understanding my disappearance than anyone else. It was not quite as total as the act they needed and nobody could be sure whether I was gone for good. For my closest followers, it foreshadowed a period of waiting. Either I'd return with a new language for them to speak or they'd seek a divine silence attendant to my own. I took a taxi past the cemetaries toward Manhattan, tides of ash-light breaking across the spires. new York seemed older than the cities of Europe, a sadistic gift of the sixteenth century, ever on the verge of plague. The cab driver was young, however, a freckled kid with a moderate orange Afro. I told him to take the tunnel. Is there a tunnel?" he said.

The only thing certain in life is uncertainty. When you’re fearful of the unknown, what you’re really unsure of is your ability to create your own life. Replace that fear with curiosity: What success or great outcome could come from this? What can I learn about myself that will help me reach my goals? Every one of my DWTS partners was worried about that first performance in front of the camera. I worried a few of them might even quit before they ever had a chance to perform. But once you hit that stage, it becomes crystal clear. The fear has nothing to do with the reality of that dance. It comes from not knowing what the experience will be like. Once you feel it and live it, that crippling fear vanishes. But you have to trust yourself: you have to take that first step.

Whenever I perform on stage, I feel detached from the material world and aspire to be one with the Supreme Being, the PARMATMA. Dance has balanced me as a person and it serves as a direct connect with the ALMIGHTY! I have become more spiritual and I feel much closer to GOD because of dance. It has changed my life in many ways – made me more focused and brought better discipline and positive energy. I can cherish every moment of my life because of dance.

At her first and only ballet performance, Trixie had been the lead reindeer, drawing out the sleigh that held the Sugar Plum Fairy. She wore a white leotard and an antler headband, and had a painted red nose. Daniel hadn't taken his eyes off her, not for any of the three minutes and twenty-two seconds that she stood on that stage. He didn't want to take his eyes off her now, but part of this new routine of adolescence meant a portion of the dance took place offstage.

Peter smiled as Concheetah sashayed across the ballroom floor Concheetah sashayed towards him, wriggling her hips, full lips in a pout, followed obediently by the tentative, Tapping Ted dressed in tight shorts and singlet. Tapping? Tapping because he always wore conspicuous, tap-dancing shoes in the club. Was Ted going to rip up the stage as a mincing Irish dancer or maybe perform a Gene Kelly routine or the Swan Lake ballet in taps? It was terrible to imagine. Peter bit his lip at that thought, hoping he wouldn’t burst into howls of laughter. He had noted after coming to several shows, that Ted usually stood at the side of the stage ready with a drink of champagne and an encouraging word and a dry towel to mop Her Highness’s face. And he always cried during the show’s finale, Abba’s Dancing Queen. Poor Tapping Ted.

The audience roared and applauded again. A rush of actors exited the stage and filled the space around her. Shakespeare had already slipped away. She could see Daniel on the opposite wing of the stage.He towered over the other actors,regal and impossibly gorgeous. It was her cue to walk onstage. This was the start of the party scene at Lord Wolsey's estate, where the king-Daniel-would perform an elaborate masque before taking Anne Boleyn's hand for the first time. They were supposed to dance and fall heavily in love.It was supposed to be the very beginning of a romance that changed everything. The beginning. But for Daniel,it wasn't the beginning at all. For Lucinda,however, and for the character she was playing-it was love at first sight. Laying eyes on Daniel had felt like the first real thing ever to happen to Lucinda,just as it had felt for Luce at Sword & Cross. Her whole world had suddenly meant something in a way it never had before.

Sir Magnus Donners himself appeared to greet his guests at exactly the same moment. I wondered whether he had been watching at a peephole. It was like the stage entrance of a famous actor, the conscious modesty of which is designed, by its absolute ease and lack of emphasis, both to prevent the performance from being disturbed at some anti-climax of the play by too deafening a round of applause, at the same time to confirm--what everyone in the theater knows already--the complete mastery he possesses of his art. The manner in which Sir Magnus held out his hand also suggested brilliant miming of a distinguished man feeling a little uncomfortable about something.

The vivid scenes with their elegant colour, their unexpected distinction, and their strangeness, were like an arras before which, like mysterious, shadowy shapes, played the forms of Kitty's fancy. They seemed wholly unreal. Mei-Tan-Fu with its crenellated walls was like the painted canvas placed on the stage in an old play to represent a city. The nuns, Waddington, and the Manchu woman who loved him, were fantastic characters in a masque; and the rest, the people sidling along the tortuous streets and those who died, were nameless supers. Of course it had, they all had, a significance of some sort, but what was it? It was as though they performed a ritual dance, elaborate and ancient, and you knew that those complicated measures had a meaning which it was important for you to know; and yet you could see no clue, no clue.

Come for a walk, dear. The air will do you good." Raoul thought that she would propose a stroll in the country, far from that building which he detested as a prison whose jailer he could feel walking within the walls... the jailer Erik... But she took him to the stage and made him sit on the wooden curb of a well, in the doubtful peace and coolness of a first scene set for the evening's performance. On another day, she wandered with him, hand in hand, along the deserted paths of a garden whose creepers had been cut out by a decorator's skillful hands. It was as though the real sky, the real flowers, the real earth were forbidden her for all time and she condemned to breathe no other air than that of the theatre. An occasional fireman passed, watching over their melancholy idyll from afar. And she would drag him up above the clouds, in the magnificent disorder of the grid, where she loved to make him giddy by running in front of him along the frail bridges, among the thousands of ropes fastened to the pulleys, the windlasses, the rollers, in the midst of a regular forest of yards and masts. If he hesitated, she said, with an adorable pout of her lips: "You, a sailor!" And then they returned to terra firma, that is to say, to some passage that led them to the little girls' dancing-school, where brats between six and ten were practicing their steps, in the hope of becoming great dancers one day, "covered with diamonds..." Meanwhile, Christine gave them sweets instead. She took him to the wardrobe and property-rooms, took him all over her empire, which was artificial, but immense, covering seventeen stories from the ground-floor to the roof and inhabited by an army of subjects. She moved among them like a popular queen, encouraging them in their labors, sitting down in the workshops, giving words of advice to the workmen whose hands hesitated to cut into the rich stuffs that were to clothe heroes. There were inhabitants of that country who practiced every trade. There were cobblers, there were goldsmiths. All had learned to know her and to love her, for she always interested herself in all their troubles and all their little hobbies. She knew unsuspected corners that were secretly occupied by little old couples. She knocked at their door and introduced Raoul to them as a Prince Charming who had asked for her hand; and the two of them, sitting on some worm-eaten "property," would listen to the legends of the Opera, even as, in their childhood, they had listened to the old Breton tales.

I saw the power this respect holds in traditional cultures on our family sabbatical to Thailand and Bali. My daughter Caroline studied Balinese dance for two months with a wonderful teacher, and he proposed to stage a farewell recital for her at his school, which is also his home. When we arrived, they set up the stage, got the music ready, and then started to dress Caroline. They took a very long time dressing a six-year-old whose average attention span is about five minutes. First they draped her in a silk sarong, with a beautiful chain around her waist. Then they wrapped embroidered silk fifteen times around her chest. They put on gold armbands and bracelets. They arranged her hair and put golden flowers in it. They put on more makeup than a six-year-old could dream of. Meanwhile, I sat there getting impatient, the proud father eager to take pictures. It was getting dark. “When are they going to finish dressing her and get on with the recital?” Thirty minutes, forty-five minutes. Finally the teacher’s wife came out and took off her own golden necklace and put it around my daughter’s neck. Caroline was thrilled. When I let go of my impatience, I realized what a wonderful thing was happening. In Bali, whether a dancer is six or twenty-six, she is equally honored and respected. She is an artist who performs not for the audience but for the gods. The level of respect that Caroline was given as an artist allowed her to dance beautifully. Imagine how you would feel if you were given that respect as a child. We need to learn respect for ourselves, for one another, to value our children through valuing their bodies, their feelings, their minds. Children may be limited in what they can do, but their spirit isn’t limited.

How do you build peaks? You create a positive moment with elements of elevation, insight, pride, and/ or connection. We’ll explore those final three elements later, but for now, let’s focus on elevation. To elevate a moment, do three things: First, boost sensory appeal. Second, raise the stakes. Third, break the script. (Breaking the script means to violate expectations about an experience—the next chapter is devoted to the concept.) Moments of elevation need not have all three elements but most have at least two. Boosting sensory appeal is about “turning up the volume” on reality. Things look better or taste better or sound better or feel better than they usually do. Weddings have flowers and food and music and dancing. (And they need not be superexpensive—see the footnote for more.IV) The Popsicle Hotline offers sweet treats delivered on silver trays by white-gloved waiters. The Trial of Human Nature is conducted in a real courtroom. It’s amazing how many times people actually wear different clothes to peak events: graduation robes and wedding dresses and home-team colors. At Hillsdale High, the lawyers wore suits and the witnesses came in costume. A peak means something special is happening; it should look different. To raise the stakes is to add an element of productive pressure: a competition, a game, a performance, a deadline, a public commitment. Consider the pregame jitters at a basketball game, or the sweaty-hands thrill of taking the stage at Signing Day, or the pressure of the oral defense at Hillsdale High’s Senior Exhibition. Remember how the teacher Susan Bedford said that, in designing the Trial, she and Greg Jouriles were deliberately trying to “up the ante” for their students. They made their students conduct the Trial in front of a jury that included the principal and varsity quarterback. That’s pressure. One simple diagnostic to gauge whether you’ve transcended the ordinary is if people feel the need to pull out their cameras. If they take pictures, it must be a special occasion. (Not counting the selfie addict, who thinks his face is a special occasion.) Our instinct to capture a moment says: I want to remember this. That’s a moment of elevation.

The 8 Play Personalities The Collector loves to gather and organise, enjoying activities like searching for rare plants, or rummaging around in archives or garage sales. The Competitor enjoys games and sports, and takes pleasure in trying their best and winning. The Explorer likes to wander, discovering new places and things they’ve never seen, through hiking, road tripping and other adventures. The Creator finds joy in making things, and can spend hours every day drawing, painting, making music, gardening and more. The Storyteller has an active imagination and uses their imagination to entertain others. They’re drawn to activities like writing, dance, theatre and role-playing games. The Joker endeavours to make people laugh, and may play by performing stand-up, doing improv, or just pulling a lot of pranks to make you smile. The Director likes to plan, organise and lead others, and can fit into many different roles and activities, from directing stage performances to running a company, to working in political or social advocacy. The Kinesthete finds play in physical activities like acrobatics, gymnastics and free running.

I remember standing in the wings when Mother’s voice cracked and went into a whisper. The audience began to laugh and sing falsetto and to make catcalls. It was all vague and I did not quite understand what was going on. But the noise increased until Mother was obliged to walk off the stage. When she came into the wings she was very upset and argued with the stage manager who, having seen me perform before Mother’s friends, said something about letting me go on in her place. And in the turmoil I remember him leading me by the hand and, after a few explanatory words to the audience, leaving me on the stage alone. And before a glare of footlights and faces in smoke, I started to sing, accompanied by the orchestra, which fiddled about until it found my key. It was a well-known song called Jack Jones that went as follows: Jack Jones well and known to everybody Round about the market, don’t yer see, I’ve no fault to find with Jack at all, Not when ’e’s as ’e used to be. But since ’e’s had the bullion left him ’E has altered for the worst, For to see the way he treats all his old pals Fills me with nothing but disgust. Each Sunday morning he reads the Telegraph, Once he was contented with the Star. Since Jack Jones has come into a little bit of cash, Well, ’e don’t know where ’e are. Half-way through, a shower of money poured on to the stage. Immediately I stopped and announced that I would pick up the money first and sing afterwards. This caused much laughter. The stage manager came on with a handkerchief and helped me to gather it up. I thought he was going to keep it. This thought was conveyed to the audience and increased their laughter, especially when he walked off with it with me anxiously following him. Not until he handed it to Mother did I return and continue to sing. I was quite at home. I talked to the audience, danced, and did several imitations including one of Mother singing her Irish march song that went as follows: Riley, Riley, that’s the boy to beguile ye, Riley, Riley, that’s the boy for me. In all the Army great and small, There’s none so trim and neat As the noble Sergeant Riley Of the gallant Eighty-eight. And in repeating the chorus, in all innocence I imitated Mother’s voice cracking and was surprised at the impact it had on the audience. There was laughter and cheers, then more money-throwing; and when Mother came on the stage to carry me off, her presence evoked tremendous applause. That night was my first appearance on the stage and Mother’s last.

Sociobiologist Edward O. Wilson later said that there should be a “consilience” between art and science. 79 Former NASA astronaut Mae Jemison took selected images with her on her first trip to space, including a poster of dancer and former artistic director of the Alvin Ailey American Dance Theater Judith Jamison performing the dance Cry, and a Bundu statue from Sierra Leone, because, as she said, “the creativity that allowed us . . . to conceive and build and launch the space shuttle, springs from the same source as the imagination and analysis it took to carve a Bundu statue, or the ingenuity it took to design, choreograph, and stage ‘Cry.’ . . . That’s what we have to reconcile in our minds, how these things fit together.” 80 As a jazz musician once told me, musicians are mathematicians as well as artists. Morse’s story suggests that the argument started not because of the need to bring art and science together, but because they were once not so far apart. 81 When Frank Jewett Mather Jr. of The Nation stated that Morse “was an inventor superimposed upon an artist,” it was factually true. 82 Equally true is that Morse could become an inventor because he was an artist all the while. In one of the final paintings that laid him flat, the painting that failed to secure his last attempt at a commission, one he had worked fifteen years to achieve, Morse may have left a clue about his shift from art to invention, and the fact that the skills required for both are the same. He painted The House of Representatives (1822–23) as evidence of his suitability for a commission from Congress to complete a suite of paintings that still adorn the U.S. Capitol building. The painting has an odd compositional focus. In the center is a man screwing in an oil chandelier, preoccupied with currents. Morse was “rejected beyond hope of appeal” by the congressional commission led by John Quincy Adams. When he toured the picture for seven weeks—displayed in a coffee house in Salem, Massachusetts, and at exhibitions in New York, Boston, Middleton, and Hartford, Connecticut—it lost twenty dollars in the first two weeks. Compounded by a litany of embarrassing, near-soul-stealing artistic failures, he took to his bed for weeks, “more seriously depressed than ever.” This final rejection forced him to shift his energies to his telegraph invention. 83 By 1844 Morse went to the Capitol focused on a current that would occupy the work of Congress—obtaining a patent for the telegraph.

The world is captivated by Hollywood superstars, music artists, and sports personalities. Hollywood is portrayed as the epitome of beauty and fashion capital of the world. Whatever the actors and actresses are wearing dictate the fashion trends and lifestyle being followed by fans in a global scale. The said movie and music characters never fail to amuse and amaze us with their clothes, shoes, bags, and hairstyles. The most popular shoes are the high heel booties studded with gems, gold, and anything sparkling in-between. You certainly wonder how they can perform dance and stage stunts with these booties heels. Women look so attractive donning high heel booties. They get few extra inches in height and look stunning from head to toe. If you are going for mall shopping or walking long distances, stay away from heeled bootiesas your feet will surely get hurt. However, if you are attending special occasions and corporate functions, heel bootiesis the perfect footwear.

Before the 1940’s, if one woman in an audience stood up and shrieked at the top of her lungs throughout an entire show she’d have been carted off to an asylum. By the mid-forties, however, entire audiences behaved like that, screaming, tearing at their clothes and hair, leaving their seats to board the stage. On December 30th, 1942, while Frank Sinatra sang at the Paramount Theater in New York, the behavior of the audience changed, and a part of our relationship to well-known people changed forever. Psychiatrists and psychologists of the day struggled to explain the phenomenon. They recalled medieval dance crazes, spoke of “mass frustrated love” and “mass hypnosis.” The media age did bring a type of mass hypnosis into American life. It affects all of us to some degree, and some of us to a great degree. Before the advent of mass-media, a young girl might have admired a performer from afar, and it would have been acceptable to have a passing crush. It would not have been acceptable if she pursued the performer to his home, or if she had to be restrained by police. It would not have been acceptable to skip school in order to wait for hours outside a hotel and then try to tear pieces of clothing from the passing star. Yet that unhealthy behavior became “normal” in the Sinatra days. In fact, audience behavior that surprised everyone in 1942 was expected two years later when Sinatra appeared again at the Paramount Theater. This time, the 30,000 screaming, bobby-soxed fans were joined by a troop of reporters. The media were learning to manipulate this new behavior to their advantage. Having predicted a commotion, 450 police officers were assigned to that one theater, and it appeared that society had learned to deal with this phenomenon. It had not. During the engagement, an 18-year old named Alexander Ivanovich Dorogokupetz stood up in the theater and threw an egg that hit Sinatra in the face. The show stopped, and for a moment, a brief moment, Sinatra was not the star. Now it was Dorogokupetz mobbed by audience members and Dorogokupetz who had to be escorted out by police. Society had not learned to deal with this, and still hasn’t. Dorogokupetz told police: “I vowed to put an end to this monotony of two years of consecutive swooning. It felt good.” Saddled with the least American of names, he had tried to make one for himself in the most American way, and but for his choice of a weapon, he would probably be as famous today as Frank Sinatra. Elements in society were pioneering the skills of manipulating emotion and behavior in ways that had never been possible before: electronic ways. The media were institutionalizing idolatry. Around

Before the 1940’s, if one woman in an audience stood up and shrieked at the top of her lungs throughout an entire show she’d have been carted off to an asylum. By the mid-forties, however, entire audiences behaved like that, screaming, tearing at their clothes and hair, leaving their seats to board the stage. On December 30th, 1942, while Frank Sinatra sang at the Paramount Theater in New York, the behavior of the audience changed, and a part of our relationship to well-known people changed forever. Psychiatrists and psychologists of the day struggled to explain the phenomenon. They recalled medieval dance crazes, spoke of “mass frustrated love” and “mass hypnosis.” The media age did bring a type of mass hypnosis into American life. It affects all of us to some degree, and some of us to a great degree. Before the advent of mass-media, a young girl might have admired a performer from afar, and it would have been acceptable to have a passing crush. It would not have been acceptable if she pursued the performer to his home, or if she had to be restrained by police. It would not have been acceptable to skip school in order to wait for hours outside a hotel and then try to tear pieces of clothing from the passing star. Yet that unhealthy behavior became “normal” in the Sinatra days. In fact, audience behavior that surprised everyone in 1942 was expected two years later when Sinatra appeared again at the Paramount Theater. This time, the 30,000 screaming, bobby-soxed fans were joined by a troop of reporters. The media were learning to manipulate this new behavior to their advantage. Having predicted a commotion, 450 police officers were assigned to that one theater, and it appeared that society had learned to deal with this phenomenon. It had not. During the engagement, an 18-year old named Alexander Ivanovich Dorogokupetz stood up in the theater and threw an egg that hit Sinatra in the face. The show stopped, and for a moment, a brief moment, Sinatra was not the star. Now it was Dorogokupetz mobbed by audience members and Dorogokupetz who had to be escorted out by police. Society had not learned to deal with this, and still hasn’t. Dorogokupetz told police: “I vowed to put an end to this monotony of two years of consecutive swooning. It felt good.” Saddled with the least American of names, he had tried to make one for himself in the most American way, and but for his choice of a weapon, he would probably be as famous today as Frank Sinatra. Elements in society were pioneering the skills of manipulating emotion and behavior in ways that had never been possible before: electronic ways. The media were institutionalizing idolatry.

Having settled on the Shavian style of Higgins’s songs, Lerner and Loewe weave two other levels of musical style into the score—just as Rodgers and Loesser wove multiple musical styles into mirrors of class and character. Eliza, the lowly flower seller whom Higgins turns into a lady, could sing with the conventional fire and passion of operetta and musical heroines. The passionate, full-throated sound of her songs—the longing of “Wouldn’t It Be Loverly?” the anger of “Just You Wait, ’Enry ‘lggins,” the joy of “I Could Have Danced All Night,” the insistence of “Show Me”—contrasts with the dry wit of Higgins’s talk-songs. This contrast not only gives the score musical variety and color but embodies the essential dramatic conflict between intellect and emotion. The third musical style belongs to Alfred Doolittle, Eliza’s working-class dad, who, like Higgins, is an unconventional moralist—resisting such constraints of middle-class morality as work, sobriety, thrift, and marriage. Lerner and Loewe saw Doolittle as a refugee from the English music hall—literally, since the veteran music-hall performer, Stanley Holloway, created the role. Doolittle’s “With a Little Bit of Luck” and “Get Me to the Church on Time” are bouncy, raucous music-hall numbers, oom-pah marches with conventional major harmonies and not a trace of American syncopation.

At the end of the scene, when Kathy kisses Don, Cosmo objects, thereby provoking Kathy to kiss him as well, to which he responds with girlish abashment (the exchange replays the part of “Good Mornin’” when Kathy sits first on Don’s knee, then on Cosmo’s). 2.5 2.6 2.7 Yet Don and Kathy do not yet engage fully as romantic partners, which becomes clear during the following number, Kelly’s famous solo rendition of the title song, “Singin’ in the Rain,” introduced by his deliberately isolating himself (kissing Kathy good night and then waving off the cab driver). Alone on the rain-drenched sound stage (assuming we have learned to recognize it as such from “You Were Meant for Me”), he clarifies the MERM-related function of such effects, which seem in themselves to demand that he sing. The coordination of MERM and Hollywood-style special effects is particularly close in this number, as he soon leaves the song behind, first to explore the sets and props conveniently at his disposal, and then to match the music’s crescendo with an expansive embrace of the larger space. Here, the camera cranes outward, and Kelly breaks through into a moment of “dancing-sublime,” when his dancing seems either to revert or to come full circle, returning to the primitive urge that gave it birth (thus his stomping and jumping in the puddle like an adolescent boy).34 But the number, through its supreme narcissism, actually does more to inhibit than to advance the plot.

Even with all of this plot to be dispensed, the songs do rise organically out of the script. Doris’s first entrance, in head-to-toe buckskin, finds her astride a stagecoach, belting out the very catchy Sammy Fain/Paul Francis Webster song “The Deadwood Stage (Whip Crack Away).” The rollicking tune and exuberant Day vocal match the physical staging of the song, and character is revealed. Similarly, later in the film there is a lovely quiet moment when Calamity, Bill, the lieutenant, and Katie all ride together in a wagon (with Calamity driving, naturally) to the regiment dance, softly singing the lilting “Black Hills of Dakota.” These are such first-rate musical moments that one is bound to ask, “So what’s the problem?” The answer lies in Day’s performance itself. Although Calamity Jane represents one of Day’s most fondly remembered performances, it is all too much by half. Using a low, gravelly voice and overly exuberant gestures, Day, her body perpetually bent forward, gives a performance like Ethel Merman on film: She is performing to the nonexistent second balcony. This is very strange, because Day is a singer par excellence who understood from her very first film, at least in terms of ballads, that less is more on film. Her understated gestures and keen reading of lyrics made every ballad resonate with audiences, beginning with “It’s Magic” in Romance on the High Seas. Yet here she is, fourteen films later, eyes endlessly whirling, gesturing wildly, and spending most of her time yelling both at Wild Bill Hickok and at the citizens of Deadwood City. As The New York Times review of the film held, in what was admittedly a minority opinion, “As for Miss Day’s performance, it is tempestuous to the point of becoming just a bit frightening—a bit terrifying—at times…. David Butler, who directed, has wound her up tight and let her go. She does everything but hit the ceiling in lashing all over the screen.” She is butch in a very cartoonlike manner, although as always, the tomboyish Day never loses her essential femininity (the fact that her manicured nails are always evident helps…). Her clothing and speech mannerisms may be masculine, but Day herself never is; it is one of the key reasons why audiences embraced her straightforward assertive personality. In the words of John Updike, “There’s a kind of crisp androgynous something that is nice—she has backbone and spunk that I think give her a kind of stiffness in the mind.

The drama of the unsocialized black has become the commanding motif of American culture. Driven to the wall, threatened with emasculation, surrounded everywhere by formidable women, the black male has summoned from his own body and spirit the masculine testament on which much of American manhood now subsists. Black jazz is the most important serious American music, acknowledged around the world if not in our own universities. Our rock culture finds its musical and rhythmic inspiration and its erotic energy and idiom in the jazz, gospel, dance, and soul performances of blacks. The black stage provides dramatic imagery and acting charisma for both our theaters and our films. Black vernacular pervades our speech. The black athlete increasingly dominates our sports, not only in his performance but in his expressive styles, as even white stars adopt black idioms of talk, handshakes, dress, and manner. From the home-plate celebration to the touchdown romp, American athletes are now dancing to soul music. Black men increasingly star in the American dream. This achievement is an art of the battlefield-exhibiting all that grace under pressure that is the glory of the cornered male. Ordinarily we could marvel and celebrate without any deeper pang of fear. But as the most vital expression of the culture-widely embraced by a whole generation of American youth-this black testament should be taken as a warning. For much of it lacks the signs of that submission to femininity that is the theme of enduring social order. It suggests a bitter failure of male socialization. By its very strength, it bespeaks a broader vulnerability and sexual imbalance. Thus it points to the ghetto as the exemplary crisis of our society.

I'll never forget the day I met Rudy (aka Rudolf Nureyev). He was at the St Peter's Theatre for a rehearsal with the Ballet of Nancy on the same stage I would dance with the Young Ballet of Sao Paulo some years later. I saw him leaving the place in the backdoor wearing his Black outfit boots and Bohemian hat. People surrounded him to get his autograph. My sister pulled me out so we wouldn't be massacred by the crowd. He did a very Russian move step-step and stop before a hole (such a cute role) in the sidewalk. Took the limousine and passed right in front of where my sister and I stood. He took a glance at me and had a gentle expression like saying, "yep you stood up from that crowd. I see you..." Lovely soul. I have this image in my heart ever since. What I didn't know then and could never imagine it was that just a few months later I would be dancing with the Ballet of São Paulo in the same Theatre he performed his Apollo. He did send his charisma towards me!

Concerned about attitudes toward worship and practices in worship in the churches of his time, Søren Kierkegaard, a nineteenth-century Danish philosopher/theologian, compared what was taking place in the theater and what was happening in Christian worship. In a theater, actors, prompted by people offstage, perform for their audiences. To his dismay, Kierkegaard found that this theatrical model dominated the worship practices of many churches. A minister was viewed as the on-stage actor, God as the offstage prompter, and the congregation as the audience. Unfortunately, that understanding of worship remains as prevalent as it is wrong. Each ingredient of the theatrical model mentioned by Kierkegaard is an essential component in Christian worship. Crucial, though, is a proper identification of the role of each one. In authentic worship, the actor is, in fact, many actors and actresses—the members of the congregation. The prompter is the minister, if singular, or, if plural, all of the people who lead in worship (choir members, instrumentalists, soloists, readers, prayers, preachers). The audience is God. Always, without exception, the audience is God! If God is not the audience in any given service, Christian worship does not take place. If worship does occur and God is not the audience, all present participate in the sin of idolatry.3

The apartments had probably been built back in the 70’s when the country was going through some ugly social times. Maybe the country was going through its adolescent phase and breaking out with a bad case of social acne. Cheesy professors were running around the country proclaiming “turn on, tune in, drop out.” A mean-spirited drunk from LA was cranking out poems about the low-life and reaching for another beer out of the refrigerator on stage as part of his performance. The porn industry was in its golden era. People proclaiming their individuality and uniqueness were all dressed the same. Mothers thought they were educating their kids by letting them watch Sesame Street, but they were just turning their kids into TV junkies and a future generation of pudding heads with blank faces ready to believe anything on the lamestream media. The Vietnam War eventually came to an end after Laos was clustered bombed, which had nothing to do with ending the war. Dominoes didn’t fall. A new war memorial went out for bid. Some crazy scientist found a way to make clothes out of chemicals - polyester. Dwarfs found their favorite hangout - the disco. The whole country seemed to be dancing to the disco beat, hypnotized by the flashing strobe lights off the big, shiny ball.

I kept wanting to go back on the stage and do it again since I had so much fun and felt so accomplished. It seemed that I had regained a lot of the confidence that I knew I had years before when I performed onstage all the time.

This new generation of Italian American entertainers shared Sinatra’s view of the new dance music that emerged in the 1950s. “Rock-and-roll is the most brutal, ugly, desperate, vicious form of expression it has been my misfortune to hear,” Sinatra told Congress in 1958. “Rock-and-roll smells phony and false. It is sung, played, and written for the most part by cretinous goons, and by means of its almost imbecilic reiteration, and sly, lewd—in plain fact, dirty—lyrics … it manages to be the martial music of every sideburned delinquent on the face of the earth.” In response to the raw, driving sexuality of black-influenced rock, young Italian American men in New York and Philadelphia did to the new music what Sinatra and his generation had done to jazz. A style combining smooth vocal harmonies, romantic lyrics, and a stationary stage presence, doo-wop was invented in the 1940s by black youth on street corners, but it shot to the top of the pop charts in the late 1950s when Italian Americans adopted it as their own—just as most African American performers moved toward “soul music.” From 1958, when Dion (DiMucci) and the Belmonts placed several songs on the pop charts, until the “British Invasion” of 1964, Italian American doo-wop groups dominated American popular music. All wearing conservative suits and exuding a benign romanticism, the Capris, the Elegants, the Mystics, the Duprees, the Del-Satins, the Four Jays, the Essentials, Randy and the Rainbows, and Vito & the Salutations declared the arrival of Italians into American civilization. During the rise of doo-wop and Frank Rizzo, Malcolm X mocked the newly white Italians. “No Italian will ever jump up in my face and start putting bad mouth on me,” he said, “because I know his history. I tell him when you’re talking about me you’re talking about your pappy, your father. He knows his history. He knows how he got that color.” Though fewer and fewer Italian Americans know the history of which Malcolm X spoke, some have reenacted it.

We had to convince these guys to perform, but they were easy to win over.” She points to the curtain, and it opens slowly. “I give you the Reeds, performing to Taylor Swift’s ‘You Belong with Me.’” The curtain opens, and Paul, Matt, Logan, Sam, and Pete are all standing in a line. They’re all dressed in jeans and sleeveless T-shirts, and you can see all their tattoos and they’re so fucking handsome that I can’t even believe they’re mine. I see Hayley, Joey, and Mellie standing on the side of the stage, all waiting anxiously to watch their daddies and uncles. Seth starts the music, and he’s underlaid some kind of hip-hop track beneath the beat, but you can still pick out the music. It’s a song about unrequited love and realizing that what you wanted was right there in front of you the whole time, but you were being too stupid to see it. It’s told from a girl’s point of view, so some of the words don’t exactly fit the boys, but it makes it all the funnier. The Reeds have moves. Serious moves. I think everyone woman in the auditorium sits forward in her seat so she doesn’t miss seeing the shaking hips and flexing muscles. Paul even picks Matt up and spins him around one time, and Sam does the same to Pete. I can’t stop laughing. Even Logan dances, and I can imagine the kind of work it took for him to learn this routine when he can’t even hear the music the same way everyone else can. He can appreciate music, just in a different way. As the song starts to close, Matt, Pete, Logan, and Paul all point out at the audience when the words, “You belong with me,” play. Matt points to Sky. Pete points to Reagan, and Logan points to Emily, who is holding the baby in her lap. And Paul points in my direction. Those four men jump off the stage and come toward us. They sing and dance all the way down the aisle. Out of the corner of my eye, I see Kelly get up to intercept Paul, but he doesn’t even notice her. He points past her, and sings out the last line, “You belong with me,” in my ear. He picks me up and spins me around, and I have never felt more happiness in my whole life. The music stops, and everyone looks to the stage. Sam has sat down on the side of it, and he looks pretty dejected. He’s holding a sign above his head that says, Available. After this, he won’t be available for long, because every woman there now has a crush on all the Reeds, and he’s the only one who isn’t taken. I love that they can be so silly, and so loving, and so…them. They don’t hide it. They don’t make a game of it. They just love. They love hard. “I love you so hard,” I say to Paul. His eyes jerk to meet mine, and he almost looks surprised. “You do?” he asks. I nod. “I do.” “Will you come home tonight?” he asks quietly. I nod. “Good. That’s where you belong.

On June 13, 2012, Michigan State Representative Lisa Brown was banned from the House floor because she pissed off House Republicans when she was defending the right to choose. She used the word “vagina” and that is what got most of the attention, but what she said about her religion is very important and should not be discounted or ignored. She said, "Yesterday we heard the representative from Holland speak about freedom of religion. I'm Jewish. I keep Kosher in my home. I have two sets of dishes, one for meat and one for dairy and another two sets of dishes on top of that for Passover. "Judaism believes that therapeutic abortions, namely abortions performed to save the life of the mother, are not only permissible but mandatory. The stage of pregnancy does not matter. Wherever there is a question of the life of the mother or that of the unborn child, Jewish law rules in favor of preserving the life of the mother. The status of the fetus as human life does not equal that of the mother. I have not asked you to adopt and adhere to my religious beliefs. Why are you asking me to adopt yours?

Rent answers the question of how people come together this way: through shared hardship, a message of the story that was readily adopted by the show’s most dedicated audiences. All theater brings people together in a room, but musical theater regularly brings people together to contemplate the spectacle of people coming together, in book, song, and dance. Musical theater also encourages and relies on the audience’s desire to perform the songs that they have heard performed, and to form communities based on that desire. In its examination and staging of the problems and pleasures of community on stage to a group of people offstage, live musical theater offers an experience unlike anything else.

And yes, I did ruin another batch of pancakes and I don’t need any comments from the snooty peanut gallery about it, m’kay? I can perform on a stage in five-inch high heels for three solid hours, simultaneously dancing and singing in front of thousands of people, but I can’t make a freaking batch of pancakes. Absurd. Inexcusable, really. But that’s okay because now I can make BISCUITS AND GRAVY.

Mick had become uncertain, had started second-guessing his own talent—that seemed, ironically, to be at the root of the self-inflation. For many years through the ’60s, Mick was incredibly charming and humorous. He was natural. It was electrifying the way he could work those small spaces, as a singer and as a dancer; fascinating to watch and work with—the spins, the moves. He never thought about it. That performance was exciting without him appearing to do anything. And he’s still good, even though to my mind it’s dissipated on the big stages. That’s what people have wanted to see: spectacle. But it’s not necessarily what he’s best at. Somewhere, though, he got unnatural. He forgot how good he was in that small spot. He forgot his natural rhythm. I know he disagrees with me. What somebody else was doing was far more interesting to him than what he was doing. He even began to act as if he wanted to be someone else. Mick is quite competitive, and he started to get competitive about other bands. He watched what David Bowie was doing and wanted to do it. Bowie was a major, major attraction. Somebody had taken Mick on in the costume and bizarreness department. But the fact is, Mick could deliver ten times more than Bowie in just a T-shirt and a pair of jeans, singing “I’m a Man.” Why would you want to be anything else if you’re Mick Jagger? Is being the greatest entertainer in show business not enough? He forgot that it was he who was new, who created and set the trends in the first place, for years. It’s fascinating. I can’t figure it out. It’s almost as if Mick was aspiring to be Mick Jagger, chasing his own phantom. And getting design consultants to help him do it. No one taught him to dance, until he took dance lessons. Charlie and Ronnie and I quite often chuckle when we see Mick out there doing a move that we know some dance instructor just laid on him, instead of being himself. We know the minute he’s going plastic. Shit, Charlie and I have been watching that ass for forty-odd years; we know when the moneymaker’s shaking and when it’s being told what to do. Mick’s taken up singing lessons, but that may be to preserve his voice.

singing and dancing more than nudity. For many years, a 54-year-old woman who went by the stage name Mistinguett had reigned over the Casino as its chief performer, but Varna believed a staged rivalry between the two women would attract more patrons.

Seven years ago tonight, every dream I ever had came true. That's not something too many men get to claim. I'm very lucky, blessed, whichever you believe. Probably a lot of both. Tonight marks the anniversary of my debut performance at Ceasars Palace." On his cue, the crowd whipped into congratulary rapture. Blindsided by his recollection, Isavel was motionless. That's what he recalls happening on this date? "Indulgent, lazy, self-centered... jerk!" she said, grabbing her purse, thinking she'd climb over the seat. "I'm going home!" Before she could turn, hositing herself over, a spotlight landed on her. In the darkened arena Aidan and Isabel were face-to-face. He stared. The same way he did years ago in his pickup truck, holding tight to her wrist, the same way he did on the dance floor at the gala. The same way he did in the moment she left him. "If you can believe it," he said, still staring, "something even more important happened that day. As dreams of fame and fortune go, this topped everything. I've always know that." Then, in a softer voice: "And I'm a fool because I should have never given up." Even from her vantage point, Isabel could see the gulp roll through his throat. "It's my great privilege this evening to introduce my wife, Isabel Royce." He gestered to the box. Isabel responded by sinking to her seat. "What's he talking about?" she hissed to Mary Louise. "We're divorced!" From her right, Tanya nudged her. It was like being on a palace balcony, Isabel offering a deer-in-the-headlights wave to the subjects, a thoroughly baffled look at Aidan. In return, he smiled at her clear confusion. "My wife ..." Why is he calling me that? There was a mixed reaction, lots of gasps, some applause, and the disappointed groans from female fans. "She's done me the tremendous honor of making a rare appearance at one of my shows. Seven years ago, she agreed to marry me. At the time, my life was more trouble than promise. We were two scared kids who had nothing but each other. Really, it was all I needed. We were married in true Vegas fashion." Hoots and hollers echoed, his glance dropping to the stage floor. Sharing this was making the performer uncomfortable. He pushed on. "While most women would have been satisfied with a ring ... " His long fingers fluttered over the snake. "This was Isabel's idea of a permanent bond." It drew a wave of subtle laughter, Isabel included. "Do you remember how the story went?" he said, speaking only to Isabel in a crowd of thousands. "As long as I had it, I'd never be without you. Turns out, it wasn't a story, it was the absolute truth. Lately though," he said, turning back to his public narrative, "circumstance, some serious, some calculated, has prevented me from getting my wife's attention. So tonight I resorted to an old performer's trick, a captive audience. I planned this moment, Isabel, knowing you'd be here. Regardless of anything you may believe, I meant what I said on our wedding night, in the moment I said it. I love you. I always have.

The next stage is a hornfels, a thoroughly recrystallized rock, so named after its supposed resemblance to animal horn. Hornfels has one rather unexpected quality—when suitably shaped, it can produce beautiful musical notes when struck. Indeed, it took central place in an extraordinary narrative of the English Lake District. An eccentric 18th-century inventor, Peter Crosthwaite—a fighter against Malay pirates in his youth and, later in life, the founder of a museum in the town of Keswick—built a kind of xylophone using hornfels from the local Skiddaw mountain. Half a century later, the Keswick stone-maker and musician Joseph Richardson determined to top Crosthwaite’s achievement, and almost ruined his family financially by building an even bigger instrument, which would produce a larger range of musical notes. Once built, though, it was indeed a sensation. Richardson toured England for three years with his sons, playing Handel, Mozart, and dance tunes on his rock creation—though at times restraining the power of the instrument so it would not shatter concert hall windows. Queen Victoria liked the performances so much that she requested extra concerts (although reports from the time do suggest that she was not amused at its imitation of Alpine bells). The harmonious hornfels ‘lithophones’ may still be seen in the Keswick museum—and are to this day occasionally taken on musical tour.

Crazy for You opens backstage at the Zangler Theatre, New York, where Bobby, desperate to break into showbusiness, performs an impromptu audition for the great impresario Bella Zangler. This is not a ‘book number’ – that’s to say, the music is not an expression of character or plot point arising from the dialogue, the defining convention of musical theatre. Instead, more prosaically, it’s a real number, a ‘prop number’: Bobby is backstage and doing the song for Zangler. So it’s sparely orchestrated – little more than a rehearsal piano and some support; it’s one chorus; and its tap-break ends with Bobby stamping on Zangler’s foot. This is grim reality: Bobby is expelled from the theatre. Outside, he makes a decision, and sings ‘I Can’t Be Bothered Now’ – the second song, but the real opening number: the first ‘book number’ in the show. There is an automobile onstage (it’s the 1930s) and, as Bobby opens the door, one showgirl, pretty in pink, steps out, then another, and another, and more and more, far more than could fit in any motor car; finally, Bobby raises the hood of the vehicle and the last chorine emerges. The audience leans back, reassured and content: Susan Stroman’s fizzy, inventive choreography has told them that what’s about to follow is romantic fantasy. More to the point, it’s true to the character of the song, and the choice of song is true to Bobby’s character and the engine of the drama: My bonds and shares May fall downstairs Who cares? Who cares? I’m dancing and I Can’t Be Bothered Now … This lyric captures the philosophy of Ira Gershwin’s entire oeuvre – which is important: the show is a celebration of Gershwin. But it’s also an exact expression of Bobby’s feelings and the reason why he heads to Dead Rock, Arkansas. So the number does everything it should: it defines the principal’s motivation; it kick-starts the plot; and it communicates the spirit of the score and the staging. Audiences don’t reason it out like that; we just eat it up. But that’s why.

You’ll always get the kind of person who watches himself acting, who sees himself as if in some continuous performance. Who believes there’ll be witnesses to report his generous or contemptible death and that this is what matters most. Or who, if there are no witnesses, invents them — the eye of God, the world stage, or whatever. Who believes that the world only exists to the extent that it’s reported and events only to the extent that they’re recounted, even though it’s highly unlikely that anyone will bother to recount them, or to recount those particular facts, I mean, the facts relating to each individual. The vast majority of things simply happen and there neither is nor ever was any record of them, those we hear about are an infinitesimal fraction of what goes on. Most lives and, needless to say, most deaths, are forgotten as soon as they’ve occurred and leave not the slightest trace, or become unknown soon afterwards, after a few years, a few decades, a century, which, as you know, is, in reality, a very short time. Take battles, for example, think how important they were for those who took part in them and, sometimes, for their compatriots, think how many of those battles now mean nothing to us, not even their names, we don’t even know which war they belonged to, more than that, we don’t care. What do the names Ulundi and Beersheba, or Gravelotte and Rezonville, or Namur, or Maiwand, Paardeberg and Mafeking, or Mohacs, or Nájera, mean to anyone nowadays?’ — He mispronounced that last name, Nájera. — ‘But there are many others who resist, incapable of accepting their own insignificance or invisibility, I mean once they’re dead and converted into past matter, once they’re no longer present to defend their existence and to declare: “Hey, I’m here. I can intervene, I have influence, I can do good or cause harm, save or destroy, and even change the course of the world, because I haven’t yet disappeared.” — ‘I’m still here, therefore I must have been here before,

She was on the stage, busting out a performance to Shakira’s “Loca”, and making Mo, for the first time since he started with Hawk, wish he had another job. Honest to fuck, if he managed to get through the whole night, and all three of her feature sets (this was number two), without jumping off the stage and punching every motherfucker watching her in the throat, it’d be a miracle. He got why she was a headliner. He got why it was a packed house. She was graceful. She knew how to dance. She was beautiful. She had an awesome outfit on (or was taking it off). And she was sexy AF. Christ.

There are two types of people in the world: the history makers, and everyone else. Are you ahistorical, outside history, just along for the ride, for the shits and giggles, or are you actually helping to shape history? If you’re not on the side of the history shapers and history makers, fuck off. You’re irrelevant. You’re a joke. Play your part. Spectators not welcome. Sideline snipers – what a waste of space. If you’re not in front of the curtain, where are you? Hiding? You’re invisible, and the world doesn’t care whether you are there or not. Get on the fucking stage and deliver the best performance of your life. We have brought you to the dance. Hop if you can.

Whenever appropriate, we joined in the performances, often dancing together and especially enjoying the practice sessions before the formal events. I sang “Salt Peanuts” with Dizzy Gillespie and joined Willie Nelson in either “Georgia on My Mind” or “Amazing Grace.” (He turned the microphone as much as possible toward himself.) I remember during a practice session that Baryshnikov leaped high enough to hit one of the chandeliers in the East Room, and we had to find a lower stage and move it to a different place.

Inside each of us is a desire to be loved, a desire to be chosen, called out of the crowd, and loved for who we are. Seeking these desires, we all become performers, morphing ourselves into whatever role may earn us a place in the hearts of those around us.

Tata used to take me along on his travels. These were exciting trips but at times embarrassing too. In one of the mofussil towns, we were watching a locally sponsored cultural event. An adolescent girl came on stage dancing as a ‘koravanji’ (soothsayer). She wore a very seductive attire and moved around sensuously like an adult. As the girl was dancing, Tata stood up and shouted at the organisers, ‘Stop this nonsense! This dance looks so obscene when performed by such a young girl.’ There was stunned silence all around. The dance was immediately stopped. I found his public expression of anger very embarrassing at that time. Tata had always believed that any performing art meant for children had to suit the age of the child. I wonder how offended Tata would be now by the present-day television ‘reality shows’ performed by children.

his bed at Lenox Hill Hospital, where he was recovering from chest pains. The song was rerecorded in a Manhattan studio, released on October 6, 1982, and sprinted up the dance charts. This set the stage for two pivotal events in the young life of Madonna: the first was an appearance shortly thereafter at No Entiendes, Haoui Montaug’s popular cabaret; the second was the filming of her debut music video. The label had allocated $1,500 for the production—an amount that was, even then, a pittance. The shoot was at Paradise Garage, a sprawling West Village discotheque, where Madonna had recently performed. After the show, Jordan Levin, a Mudd Club and Pyramid celebutante who’d been invited

Still, there was only one avant-garde theater in New York in the early sixties where it was thoroughly okay to be gay: the Caffè Cino, the earliest (1958) of all the off-off-Broadway experimental groups and a significant if rarely credited crucible for an emerging gay male sensibility. The Cino was the brainchild and alter ego of Joe Cino. Born in Little Italy, he had originally intended to become a ballet dancer, an unlikely aspiration for an Italian-American boy, but when he was in his twenties that passion had given way to a somewhat more seemly preoccupation with theater. (In the early-morning hours after the Caffè had closed its doors to paying customers, Joe Cino, stark naked and by then overweight, would perform solo dances under the stage lights in nostalgic tribute to his youthful dreams.)6 The Caffè Cino, at 31 Cornelia Street in Greenwich Village, functioned as a coffee shop cum performance space and was essentially an extension of Joe Cino’s own apartment (he usually slept on a mattress in the back room).