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Your Week Ahead: June 20 to 26

The Morikami toasts four decades of Japanese culture, a photography pioneer exhibits in West Palm Beach, and 40 bands blanket Dade County with noise at the Miami Psych Fest. Plus, Diana Ross, a Delray literary panel, “Manifesto” and more in your week ahead.


WEDNESDAY

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What: International Yoga Day

Where: Mizner Park Amphitheater, 590 Plaza Real, Boca Raton

When: 5 p.m. Cost: $30

Contact: 954/295-2458, namastacyyoga.org

It doesn’t get more Boca than this annual wellness festival presented in honor of International Yoga Day, hosted worldwide each June 21 since its inception in 2015. Palm Beach County’s celebration, presented by NamaStacy Yoga, features contributions from Master of Ceremonies Suzanne Boyd, of CBS-12; a one-of-a-kind VinVersion yoga class hosted by NamaStacy’s telegenic founder, Corbin Stacy; a taiko drumming performance; and a YinYoga and meditation program lead by “Vegas Gone Yoga” festival creator Kristina Blunt and meditation guru Pam Butler. Attendees must bring their own mats.

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What: The Indie Experience

Where: Murder on the Beach, 273 Pineapple Grove Way, Delray Beach

When: 7 p.m.

Cost: Free

Contact: 561/279-7790, murderonthebeach.com

Historical thrillers, eccentric South Florida-set comedies, tender romances, and private-eye mysteries will take center stage at this diverse panel discussion between local authors. Moderator Charles Todd will host six emerging and veteran wordsmiths, each of them promoting a book hot off the presses: Carol White (A Divided Duty), R.V. Reyes (Jeweler’s Mark), Victoria Landis (Alias: Mitzi & Mack), Marcia King-Gamble (Just You), Joanna Campbell Slan (Love, Die, Neighbor) and Kathy Runk (Murder at the Rectory). Pick up a summer beach read, and discover a new favorite author.

THURSDAY

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What: Opening reception of “John Reuter: Second Impressions”

Where: Palm Beach Photographic Centre, 415 Clematis St., West Palm Beach

When: 6 to 8 p.m.

Cost: Free

Contact: 561/253-2600, workshop.org

A celebrated photographer since the 1970s, John Reuter has been at the forefront of some of the medium’s most luminous innovations—especially the Polaroid Corporation’s 20X24 camera, whose instant, massive prints became the gold standard in analog large-scale photography: Its adopters included Andy Warhol, Chuck Close and William Wegman. The stunningly high-resolution format has apparently reached its twilight, with Reuter’s 20X24 Studio set to cease operations by the end of 2017. So it’s an ideal time to remind us of its capacity. Reuter’s own 20X24 shots, which broke ground by combining photography with painting and collage, will display at this free exhibition, along with his captivating infrared landscapes of Singapore, shot between 2009 and 2011. It runs through Aug. 5.

FRIDAY

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What: Opening night of “Manifesto”

Where: Lake Worth Playhouse’s Stonzek Theatre, 709 Lake Ave., Lake Worth

When: 2 and 6:15 p.m.

Cost: $6-$9

Contact: 561/296-9382, lakeworthplayhouse.org

From royal elves to wicked stepmothers, and from Queen Elizabeth I to Bob Dylan, Cate Blanchett has inhabited a remarkable range of personae in a film career that has swung, pendulum-like, from the conventional to the eccentric. In terms of the latter, it’s going to be difficult to eclipse “Manifesto,” in which Blanchett takes on 13 roles with chameleonic ease, from schoolteacher to factory worker, punk to newsreader, scientist to homeless man. Each character represents, and reads from, an important political or art-world manifesto, in curated settings that support, or ironically comment on, the spoken provocations. Originally an audiovisual exhibition by artist Julian Rosefeldt, which ran in museums on 13 screens simultaneously, this film version presents the roles in a linear fashion, but don’t expect a plot to emerge: This is Art with a capital A. It runs through next Thursday.

FRIDAY AND SATURDAY

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What: Miami Psych Fest

Where: The Bridge, 4220 N.W. Seventh Ave., Miami

When: Begins at 5 p.m. Friday

Cost: $10 per day, $15 for weekend pass (free for the first 50 entrants per day)

Contact: miamipsych.eventbrite.com

Miami has always been a haven for weird music, and this weekend’s Psych Fest gathers 40 radical acts in one compact place: the experimental arts hub The Bridge. The “psych” label is deployed liberally: Headliners and other touring acts include the inventive Memphis rapper Ash Leon; the indefatigable avant-jazz virtuoso Kenny Millions, who has released nearly 70 albums since 1964; Nashville-based No Wave/shoegaze band Sallow; and the definitive psych-pop of Orlando’s Timothy Eerie. There’s also live art-making and a lightshow, and all ages are welcome. “Trippy” attire is encouraged.

SATURDAY

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What: Diana Ross

Where: Kravis Center, 701 Okeechobee Blvd., West Palm Beach

When: 8 p.m.

Cost: $49 and up

Contact: 561/832-7469, kravis.org

We tend to overuse the superlative “legendary,” but with a career dating back nearly 60 years, Diana Ross has earned her status as soul-dance-disco royalty. Like Alfred Hitchcock, the former Supreme inexplicably never won the premier competitive award in her industry, but the Grammys did bestow her with a Lifetime Achievement Award in 2012, honoring a career total of 70 hit singles and more than 100 million records sold worldwide. At 73, the singer-actress can still belt with the best of them: She’s fresh off a five-night stint in New York City, where she played two dozen songs per show, from Supremes classics to solo songs and covers, including tunes she popularized in her film work in “The Wiz” and “Lady Sings the Blues.” Her daughter, accomplished singer Rhonda Ross, will open the show.

SUNDAY

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What: 40th Anniversary Celebration

Where: Morikami Museum & Japanese Gardens, 4000 Morikami Park Road, Delray Beach

When: Begins at 10 a.m. Cost: $15 (or four tickets for $40)

Contact: 561/495-0233, morikami.org

It’s been four decades since the Morikami opened in western Delray Beach, on land once occupied by influential immigrant farmer George Morikami. The relationship between Delray Beach and Japan has continued to blossom thanks to the Morikami’s remarkable growth: The institution now spreads Japanese art, culture, food and horticulture to more than 200,000 annual visitors, and its museum houses more than 8,000 objects. Celebrate the venue’s landmark anniversary at this daylong bash, which includes craft activities, live music and Museum Store discounts. Satisfy your sushi cravings with a pair of exclusive rolls as well as a special appetizer: the Pacific Yellowtail Tuna Carpaccio.

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What: “’night, Mother” reading

Where: The Vanguard, 1501 S. Andrews Ave., Fort Lauderdale

When: 1 p.m.

Cost: $10

Contact: 954/610-7283, thinkingcaptheatre.com

In its ongoing efforts to bridge the gender gap in the theater community, Thinking Cap Theatre has been producing the yearlong series “Gap,” featuring readings of Pulitzer Prize-winning plays by women. It’s a small pool from which to choose: Of the 86 Pulitzer-winning plays, only 15 have been written in part or in full by women. Thinking Cap’s monthly series spotlights 11 of them, including this weekend’s entry, ‘”night, Mother”—Marsha Norman’s emotionally taxing masterpiece about a young woman who, to her mom’s dismay, has decided to take her own life. This powerful two-hander will be read by Karen Stephens and Tina Thomas, with direction by Elizabeth Price. A talkback will follow the performance.

As the A&E editor of bocamag.com, I offer reviews, previews, interviews, news reports and musings on all things arty and entertainment-y in Palm Beach, Broward and Miami-Dade counties.
In this Jan. 26, 2015 photo, Tig Notaro poses for a portrait to promote the film, "Tig", at the Eddie Bauer Adventure House during the Sundance Film Festival in Park City, Utah. (Photo by Victoria Will/Invision/AP)

Your Week Ahead: June 13 to 19

The Art & Culture Center marries postcards and protest, the Stonewall Festival honors LGBTQ resistance, and two funny women create a dynamic stage comedy. Plus, Tig Notaro, Will to Power, a foodie documentary and more in your week ahead.


WEDNESDAY

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What: Opening night of “Girls Only: The Secret Comedy of Women”

Where: Broward Center, 201 S.W. Fifth Ave., Fort Lauderdale

When: 7:30 p.m.

Cost: $35-$45

Contact: 954/462-0222, browardcenter.org

As the story goes, friends and veteran stage actors Linda Klein and Barbara Gehring recently rediscovered their childhood diaries and decided to plumb them together. The similarities that connected these natives of Canada and Colorado, respectively, overrode their differences, convincing these naturally funny creatives that there might be a show to be found in the detritus of their youth. The estrogen-fueled “Girls Only” expanded from there, evolving into a multimedia touring production that includes sketch comedy, improvisation, audience participation, videos and songs. Gehring and Klein play all the characters in a tour de force by and for women. It runs through June 25.

THURSDAY

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What: Opening night of “The Goldberg Variations”

Where: Island City Stage, 2304 N. Dixie Highway, Fort Lauderdale

When: 8 p.m.

Cost: $35

Contact: 954/519-2533, islandcitystage.org

Inspired by the gorgeous and ubiquitous J.S. Bach aria of the same name, Stuart Meltzer’s play “The Goldberg Variations” imagines a different group of Goldbergs: an eccentric modern family that gathers for an annual birthday celebration of a beloved, long-deceased matriarch. This year’s party will be a momentous one, as secrets unfurl amid an evening itinerary curated by Goldberg scion Caleb, whose narrative “variations” alter the present while serving to extend a difficult emotional evening. Meltzer, the artistic director of Miami’s Zoetic Stage, based “The Goldberg Variations” partly on the relationship with his own father in the latter’s final months, tempering the drama with comedy that’s both relatable and absurdist. Catch this world premiere production through July 16.

FRIDAY

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What: Opening night of “Past Life”

Where: Regal Shadowood 16, 9889 W. Glades Road, Boca Raton

When: Show times pending

Cost: $10-$13

Contact: samuelgoldwynfilms.com/past-life

Deftly combining the personal, political and historical, this latest feature from veteran Israeli director Avi Nesher is a fact-based odyssey of truth and reconciliation that spans three countries. In 1977, Sephi (Joy Rieger), an aspiring classical composer and choir student, has just performed a concert in West Berlin when she is accosted by an older woman who accuses her father, a gynecologist in Israel, of being a murderer. This prompts Sephi and her more-rebellious sister Nana (Nelly Tagar) to investigate a traumatic past their father would prefer to consign to the history books. The first film in an intended trilogy, “Past Life” is superbly acted and finely crafted, if overly calculated: As history is rummaged and the chips fall, it can feel too much like a movie. But its powerful sweep bristles with ambition and curiosity for parts two and three. You can also see “Past Life” at Living Room Theaters at FAU. Ella Milch-Sheriff, the real-life inspiration for Sephi, will speak at a live Skype Q&A following the noon showtime on June 18 at Living Room.

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What: Opening night of “Jeremiah Tower: The Last Magnificent”

Where: Living Room Theaters at FAU, 777 Glades Road, Boca Raton

When: Show times pending

Cost: $6.50-$9.50

Contact: 561/549-2600, fau.livingroomtheaters.com

Though he never achieved the level of fame of some of his contemporaries, celebrity chef Jeremiah Tower has had a major role in defining, and refining, today’s foodie culture. At least that’s one of the takeaways of “Jeremiah Tower: The Last Magnificent,” a documentary about the toque’s tumultuous culinary legacy. Capturing Tower’s brazenness, prickliness and perfectionism, the Anthony Bourdain-produced doc is filled with important talking heads waxing praise on Tower, whose history includes helping to create California cuisine with Alice Waters, opening the landmark San Francisco eatery Stars, and disappearing from kitchens for more than a decade before his short-lived return to Top Chef status at New York City’s Tavern on the Green. It’s a worthy introduction to a figure the New Yorker recently called “a forgotten father of the American food revolution.”

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What: Opening night of “Dear 33020”

Where: Art and Culture Center, 1650 Harrison St., Hollywood

When: 6 p.m.

Cost: $10

Contact: 954/921-3274, artandculturecenter.org

Call it a form a slow-motion protest. In the instantly gratified age of Tweets and blogs, South Florida artist Lisa Rockford and Connecticut artist Margaret Roleke have collaborated on a project addressing feminism in President Trump’s first 100 days through a most analog of mediums: postcards. From Jan. 20 through May 1, these relative strangers expressed their shared discontent in a series of witty, playful, socially conscious postcards exchanged through the U.S.P.S. Each time a postcard arrived, it was placed on a gallery wall here in Hollywood and in New Haven, connecting with the other postcards to form a comprehensive image encapsulating the artists’ views of the new president. Their co-inspired vision, “Dear 33020,” opens Friday, along with two other exhibitions, “Charley Friedman: Moist Things” and “David Rohn.” All run through Aug. 20.

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What: “I Want My ‘80s Back” with Will to Power

Where: Honey Delray, 16 E. Atlantic Ave., Delray Beach

When: 10 p.m.

Cost: $10 presale

Contact: eventbrite.com

Surely the most prominent musical act named for a Friedrich Nietzsche text, Miami’s Will to Power crested the wave of ‘80s dance pop on the strength of its self-titled 1988 debut. The dance trio (now a duo) imagined fresh, synth-driven takes on Peter Frampton’s “Baby, I Love Your Way” and Skynyrd’s “Freebird,” while achieving Billboard chart success with its original dance singles “Fading Away” and “Say It’s Gonna Rain.” Having signed to Epic Records, Will to Power’s success was limited to two LPs, though the group returned in 2015, after a 15-year absence, with the album “Spirit Warrior.” See founding member Bob Rosenberg and vocalist Carmen Medina explore Will to Power’s nostalgic catalog at this throwback concert, which will be preceded by at least three hours of ‘80s and ‘90s tunes spun by DJ Johnny Quest.

SATURDAY

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What: Stonewall Festival

Where: 2345 N. Dixie Highway, Wilton Manors

When: 3 to 11 p.m.

Cost: Free

Contact: 954/621-1350, wiltonmanorsstonewall.com

Each June, Wilton Manors’ Stonewall Festival honors the original Stonewall riots of 1969, in which New York City’s gay community staged revolutionary protests against police oppression. These rallies honor that heritage while acknowledging how far the LGBTQ communities have come in nearly 50 years. There will be live entertainment, a vendor marketplace and a 4 p.m. parade down Wilton Drive, with 30,000 individuals and families expected to turn out. This year’s special guest and Stonewall Grand Marshal is Sharon Gless (pictured), the 10-time Emmy nominee for “Cagney & Lacey” and a longtime LGBTQ activist. Visitors can meet Gless for photo ops from 6 to 8 p.m. at the National Stonewall Museum, at 2157 Wilton Drive.

SUNDAY

In this Jan. 26, 2015 photo, Tig Notaro poses for a portrait to promote the film, "Tig", at the Eddie Bauer Adventure House during the Sundance Film Festival in Park City, Utah. (Photo by Victoria Will/Invision/AP)

What: Tig Notaro 

Where: Broward Center, 201 S.W. Fifth Ave., Fort Lauderdale

When: 7:30 p.m.

Cost: $28.50-$34.50

Contact: 954/462-0222, browardcenter.org

In the early 2000s, Notaro toiled as a cult figure on the alternative comedy circuit, earning a dedicated niche of fans on the strength of her unconventional prop jokes and pithy quips. The Mississippi native never pulled much material from her life until life started pulling at her: In the span of a year, in 2012, her mother died in a freak accident, she broke up with her girlfriend, and she was diagnosed with two diseases, including breast cancer. She addressed these topics in a now-legendary standup appearance on August 2012 in Los Angeles; two years later, having undergone a double mastectomy with no reconstructive surgery, she performed a set topless in New York City. These days, she’s a mother of twin girls and an inspiration who continues to pull from her storied life, sprinkling anecdotes amid signature deadpan observations.

As the A&E editor of bocamag.com, I offer reviews, previews, interviews, news reports and musings on all things arty and entertainment-y in Palm Beach, Broward and Miami-Dade counties.
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5 to See in Old School Square’s 2017/2018 Season

From primatologists to political humorists, folk rockers to glass artists, tribute acts to magic shows, Old School Square’s 2017-2018 season is arguably more eclectic than ever. Announced this week, the Delray arts campus’ schedule welcomes more than 60 entertainers from October to May.

The Crest Theatre’s bedrock cabaret, singer-songwriter and lecture series remain strong, while the addition of top-shelf tribute artists—“Billie Holiday” and “Neil Young” will take the stage—and a National Geographic Live series add new elements to the robust selection of talent.

We (quite subjectively) combed through the roster to find the five most exciting acts in next season’s lineup. Mark your calendars for these high-profile bookings, and visit Old School Square’s website under “All Events” for the complete breakdown.

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Jason Bishop (Jan. 6-7, 2018)

This grand illusionist is, among other things, a case study in overcoming hardship. Orphaned as a child, the Newark native spent his first 18 years shuffling between foster homes, escaping his transient childhood with the transformative power of magic. He’s since become one of the most eclectic and sought-after magicians on the circuit. As known for his comedic asides and rock-powered soundtrack as his spectacular illusionists and sleights of hand, Bishop’s tricks include double levitations and plasma illusions, aided by cutting-edge technical gadgetry.

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Annie Griffiths (Feb. 15, 2018)

This photographer helped shatter the glass ceiling at National Geographic by becoming one of the famed magazine’s first female photographers—a job that has allowed her to see, and document, nearly 150 countries. As comfortable capturing landscapes and fauna as she as is portraits and culture, Griffith’s best work explores the plight of young girls and women worldwide, particularly in such interrelated issues of climate change and food insecurity. She will share this mission, and stories from her exciting life, at afternoon and evening presentations on Feb. 15.

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Roger McGuinn (March 14, 2018)

Don’t “Turn! Turn! Turn” away (sorry for that groaner) from this founder of the Byrds, one of the most influential folk-rock bands of all-time. McGuinn has been active in the music business for 60 years, initially climbing the studio ladder as a sideman for Judy Collins and other folksingers. Later with the Byrds, he helped fuse folk, rock, jazz and country into a plangent stew we now call Americana. Songs like “Eight Miles High” and “Mr. Spaceman” have become the standards of their generation, and at 74, McGuinn still captures their harmonic, youthful spirit.

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“Million Dollar Quartet” (March 17-18, 2018)

As the story goes, for one fraught night in December of 1956, four musical titans descended on the Sun Records studio in Memphis: Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins. Gathered at the behest of Sun impresario Sam Phillips, the members of this impromptu jam session were not known for playing nice together, and this jukebox musical dramatizes both the great music and the inflated egos, and the internecine squabbles and thrilling collaborations. Though the show isn’t new to South Florida—Actors’ Playhouse in Coral Gables produced a gangbusters version last year—it’s never played Delray before, and this touring version is a real treat for such an intimate theater.

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James Judd (June 2, 2018)

The world has enough comedians and actors. But humorists and monologists? Those personalities are a rarer breed: Think Spalding Gray, David Sedaris and this guy, NPR personality James Judd, who makes a living memorizing his misadventures as a banned journalist and turning them into hilarious spoken-word recollections performed at a whiplash pace. His stories include “accidentally” winding up in a Chinese brothel, and imagining a shark’s dive off the coast of New England. He records a podcast (who doesn’t?), but it’s way better to see this whirling dervish perform his monologues live.

As the A&E editor of bocamag.com, I offer reviews, previews, interviews, news reports and musings on all things arty and entertainment-y in Palm Beach, Broward and Miami-Dade counties.
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Oxbridge Sophomore Joseph Rubsamen is Delray’s Sole Man

This story comes for our May/June 2017 issue of Delray. For more stories like this, subscribe to the magazine.


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Written by RICH POLLACK. Photo by AARON BRISTOL.

For Joseph Rubsamen, a family trip to Nicaragua at age 9 was more than just a vacation. It was an eye-opener.

As Rubsamen, his parents and two brothers drove to the coast from the capital of Managua, they passed through areas of extreme poverty lined with windowless, rundown shacks. Rubsamen saw something else that hit him hard.

“I noticed that no one had shoes,” he said.

That observation in 2009 eventually led Rubsamen to start a nonprofit organization, Shoes2You. Since then, Rubsamen has collected about 6,500 pairs of shoes for children and families in Nicaragua, Indonesia, Kenya and here in Palm Beach County.

The 16-year-old sophomore at Oxbridge Academy has seen the impact his program has on those he reaches after personally delivering several hundred pairs. During one trip to Nicaragua, Rubsamen and his family delivered six bags of shoes to a small school, clinic complex, and to a women’s diabetic center. That is the best part, he said—the joy of seeing people get a pair of shoes and how it changes their lives.

During a trip to Bali, he visited a school that received more than 400 pairs of shoes—shoes needed for children to attend the school. “The shoes are giving someone a chance to get an education,” he said.

A resident of Delray Beach, Rubsamen recognized that there are many in South Florida who can’t afford new shoes. He’s organized shoe drop-offs at health-department locations in Delray Beach and Lantana and delivered shoes to the Paul’s Place after-school program at St. Paul’s Episcopal Church in Delray Beach.

Most recently, Rubsamen and Shoes2You sent 99 pairs of shoes to orphans and impoverished children who were playing tennis barefoot on a makeshift dirt court in Africa.

“Joseph is an exceptional kid,” said Peggy Gossett-Seidman, a family friend who helped arrange shipping the shoes to Africa. “He couldn’t believe there were kids in the world who didn’t have shoes, and it broke his heart.”

Rubsamen’s mother, Merilynn Rubsamen, remembers how her youngest son couldn’t stop thinking about the barefoot people he saw in Nicaragua during that trip seven years ago.

“When we got home, he said, ‘I’m going to send the shoes that I don’t wear anymore to Nicaragua,’” she recalled.

Before long, Rubsamen and his mother were setting up the nonprofit organization with a local CPA and putting shoe collection bins at the student dropoff area at Unity School in Delray Beach, his school at the time.

“By the third day, there were four bins overflowing with shoes,” Merilynn Rubsamen said.

Unity continues to help Rubsamen collect new and gently used shoes, as does Oxbridge Academy. Earlier this year, the program received 1,700 pairs of shoes from Davenport School of the Arts in Winterhaven. He receives donations from the community and from retailers such as Nomad Surf Shop.

“The more that people help, the more people are affected,” he said. “It’s a chain reaction that leads to a better quality of life for everyone. It’s just a better world.” Learn how to donate at shoes2you.org.

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Pinball With a ’60s Pop Beat

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This Saturday at the Silverball Museum, visitors to the nostalgic Delray Beach arcade can expect to hear more than 8-bit laser blasts and thwacking pinball flippers. They might hear a bit of Beach Boys, Roy Orbison and The Byrds, too.

That’s because Cousin Brucie, the legendary octogenarian radio personality, will bring his weekly SiriusXM program, “Cousin Bruce’s Saturday Night Rock and Roll Party,” to Silverball’s Kiss Lounge from 8 to 11 p.m. The broadcast, which will stream across the satellite airwaves in the U.S. and Canada, will include live performances by Connie Francis (of “Stupid Cupid” and “Lipstick On Your Collar” fame), Herman Santiago of Frankie Lymon and the Teenagers, and Steve Boone of The Lovin’ Spoonful. Delray Beach Mayor Cary Glickstein will make an appearance as well—no word on whether he’ll flex his pipes at the event too.

Seating is limited to 50, and to secure a spot, you need to participate in the ticket giveaway on SiriusXM’s “60s on 6” prior to the show. But for $10, anyone can purchase Silverball admission the night of the show and listen to the live stream while skee-balling, pinballing, joysticking and air-hockeying the night away.

The Silverball Museum is at 19 N.E. Third Ave., Delray Beach. For information, call 561/266-3294.

As the A&E editor of bocamag.com, I offer reviews, previews, interviews, news reports and musings on all things arty and entertainment-y in Palm Beach, Broward and Miami-Dade counties.
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Art Review: “Who is Joan Quinn?”

“Who is Joan Quinn?” is the name of the Cornell Museum’s newly opened exhibition, and it’s a question whose response is as mysterious and multifaceted as the artists comprising the show.

The most basic answer to that question is that Quinn has been an arts patron, muse and journalist for more than 35 years, a native Los Angelino who held an important post at Andy Warhol’s Interview magazine, and whose “Joan Quinn Interviews” program has spotlit artists and showbiz figureheads for 23 years on syndicated television. But that’s just a resume. To understand the spirit, the character and perhaps the soul of Joan Quinn, more than 300 artists have depicted her likeness, from Andy Warhol and Ed Ruscha to David Hockney and Shepard Fairey (pictured below). As the Cornell writes in its exhibition introduction, “Quinn is probably the most photographed, painted and sculpted persona in the history of contemporary art.”

Various exhibits of portraits plucked from this voluminous archive have been making their rounds at museums and galleries in recent years, including the Brand Library’s “Joan Quinn: Captured” in Los Angeles and the Fresno Art Museum’s “Rendering Homage: Portraits of a Patron.” Old School Square Curator Melanie Johanson’s version, which opens today, features more than 70 portraits scattered about the Cornell’s wooly two-story structure: a handful downstairs, single pieces on both stairwells, works covering walls and podia in three upstairs galleries.

Wandering the halls feels like you’re becoming a tourist in Quinn’s mind, if not in the stormy cerebrums of the 70-plus artists. Like a composer’s variations on a theme, the baseline image of Quinn’s radiant visage usually exists somewhere within the frame, but beyond that, all bets of off, with media ranging from painting to graphite to photography to sculpture to mixed media, in styles from Pop Art and impressionism to cubism, abstract expressionism and street art. The effect is a dizzying survey of 40 years of art movements filtered through an identical starting point.

This artistic gamut runs from the conservative to the outlandish, occasionally encompassing both extremes: Painter Peter S. Faulkner’s portrait is stunningly realistic and straightforward, except for his creepy/cheeky decision to three-dimensionalize the work by simulating Quinn’s “hands” gripping the frame itself.

The painting that’s most reverential in its realism is by Richard Bernstein, whose tight close-up is practically idolatrous. The most unadorned photograph is by Aldo Sessa, a stark black-and-white studio shot of a regal Quinn that suggests Arnold Newman’s essence-capturing portraits.

But the most fun pieces are the whimsical distortions of portraiture. Duggie Fields’ “All That Glitters” depicts Quinn as an animated superhero from a primitive video game, positioned on a “Tron”-like landscape. Sophia Gasparian transforms Quinn into what resembles a sardonic figure from a Japanese toy line. And Ian Falconer’s hilarious, propped-up faux bust of Quinn plays with notions of form, perspective and nudity.

Still other works deviate so much from what traditionalists would call portraits that they seem to be channeling aspects of Quinn outside the physical. Jean-Michel Basquiat’s severe pencil drawing is a portrait in fragments: bejeweled arms, a vertical tube labeled “esophagus,” strands of hair, two long-tailed monkeys. Suzan Woodruff’s “Pink Dragon” is a puff of purple haze, and Mike Chearney’s contribution is a series of vibrant abstract sinews with a facelike white blob in the center. Laddie John Dill’s “Child’s Play” is an illuminated glass tube, composed of argon gas and mercury, which strains for specificity to Quinn. The most obtuse of them all may be Frank Gehry’s rough paper maquette, which resembles pair of nuzzling catfish.

But I was most taken with the artists that have molded Quinn’s form, like putty, into their historical, cultural, religious and even ethnic visions. In Marie Lalanne Elfman’s painting, she’s an 18th century aristocrat complete with periwig. Robert Mapplethorpe captures a gleeful Cleopatra, multi-brooched and many-braceleted, in a flowing black gown (pictured below). Quinn dons papal headgear in Julie Green’s theistic portrait, and she could be a Mexican cantina owner in John Carr’s southwestern painting, or an island entertainer in Billy Al Bengston’s kitchsily Polynesian “Kaeka Koana.”

Lest the exhibition only consist only of others’ interpretations of Quinn, one wall is composed of seemingly personal candids of the artist, but even in these, Quinn is who you want her to be. In one shot, she conjures a Native American priestess, in another a 40s movie star in profile, in another an Old Master’s model reclining on a chaise lounge.

With so many Quinns depicted in one form or another, the question of the exhibition’s title remains, at the show’s circuitous end, enticingly inexplicable. Or maybe it’s existentially simple: She’s all of us.

“Who is Joan Quinn?” runs through Jan. 15 at the Cornell Museum at Old School Square, 51 N. Swinton Ave., Delray Beach. Admission is a suggested $5 donation. Call 561/243-7922 or visit oldschoolsquare.org.

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Movie Reviews: “The People Vs. Fritz Bauer” and “The Hollars”

At the beginning of the German historical drama “The People Vs. Fritz Bauer,” the title character (Burghart Klaussner) is sinking into his bathtub, unconscious from sleeping pills and alcohol. He’ll claim later that his act was not a suicide attempt, but it’s hard to blame him if it was.

Fritz Bauer was attorney general of Frankfurt in the late 1950s, a figure of significant controversy: He was a German socialist of Jewish origin, who reputedly frequented male prostitutes. With his shock of white hair and socially awkward workaholism, he’s an unlikely hero. Thanks to Klaussner’s dogged, rough-around-the-edges performance, he also seems like the craziest guy in the room.

But this is the man who clandestinely led his city’s charge to bring the Nazi high command to justice while the majority of Germans would rather enjoy the domestic comforts of their country’s economic miracle. As the movie presents them, Germany’s political leaders and the international police constituted a more egregious obstacle, littered as they were with former S.S. officers dedicated to keeping their fellow-vermin in hiding.

Talky but engaging, and shot like a shadowy American noir, “The People Vs. Fritz Bauer” dramatizes its imperfect hero’s quest to prosecute one Nazi in particular—Adolf Eichmann (Michael Schenk), in all his evil banality—against a system that stonewalls him at every turn. We witness Eichmann and his trusted state attorney Karl Angermann (Ronald Zehrfeld) chase shady leads and resort to blackmail, treason and media misdirection, confident the ends will justify the means.

The film’s target is less Eichmann, whose crimes against humanity are by now unspeakably familiar, than it is the country itself, and the people’s desire to embrace complacency and normalcy instead of atoning for national shame. The fact that it was selected by Germany as its Academy Award submission for the 2016 Oscars reflects its nation’s moral turnaround from the obfuscations of its postwar past.

Watch this film, and then revisit Margarethe Von Trotta’s 2012 feature “Hannah Arendt,” about the Eichmann trial. Collectively they convey the long struggle for international justice, each of them packing intellectual wallops that transcend their time and place.

“The People Vs. Fritz Bauer” opens today at Regal Shadowood 16 in Boca Raton, Movies of Delray, Movies of Lake Worth and Miami’s Tower Theater.

***

At its worst, “The Hollars” is “Garden State” redux: A you-can’t-go-home-again midlife-crisis dramedy centered on a parent’s health, where malaise, dysfunction and quirk grapple for emotional dominance.

Inhabiting the Zach Braff archetype to a T is director-star John Krasinski, whose John Hollar is a struggling graphic artist in New York unhappily living with his pregnant girlfriend Rebecca (Anna Kendrick). He returns to his Ohio home when his mother Sally (Margot Martindale) is diagnosed with a softball-sized brain tumor. John’s estranged family turns out to be a shambles in more ways than one: His misfit brother Rob (Sharlto Copley) lives in his parents’ basement and routinely stalks his ex-wife, and his father Don (Richard Jenkins) is on verge of bankrupting his lifelong business thanks to the sagging economy.

There’s an annoying insincerity to the film’s meandering comic relief, in which supporting characters converse in arch rejoinders and collapse into asinine stereotypes—the foils for many quizzical looks from Krasinski’s straight man/audience surrogate. Krasinski never quite sheds the preciousness of this common Indiewood genre trapping, yet “The Hollars” accumulates a poignant dramatic power. There comes a time when it virtually forgets to be funny and begins to resemble real life in all of its complexity—from would-be parents sharing doubts about their pending responsibilities to senior citizens forced to toil at minimum-wage jobs again.

The eruptions of exquisite vulnerability Krasinski elicits from Jenkins and Martindale trickle down to the rest of his ensemble, as latent regrets bubble to the surface and then recede. I admit to crying more than once, despite the film’s manipulations and pedestrian desire to leave no storyline incomplete. The body of “The Hollars” may need its share of tune-ups, but its soul is present.

“The Hollars” opens today at Living Room Theaters and Regal Shadowood in Boca Raton, Movies of Delray, Movies of Lake Worth, Muvico Parisian 20 in West Palm Beach, and other area theaters.

As the A&E editor of bocamag.com, I offer reviews, previews, interviews, news reports and musings on all things arty and entertainment-y in Palm Beach, Broward and Miami-Dade counties.