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music, films, a trip back in time from 11.10 - 12.2

Lisa's note: This is a shout out for Mike Nicoletti. Mike and I attended the High School of Art & Design in Manhattan. Listen to what he's been up to...he posted an anti war song on youtube.
Mike said he is singing and playing all the instruments, but he will be replacing that with the version from his rock band underhanded soon...stay tuned!

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East Hampton Historical Society Event
Lantern Tour with Hugh King
Saturday, November 10 2007
Reservations required. Click on link for details.

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Catch the tail end of the
through November 11th

- During the eight-day promotion participating restaurants in Nassau and Suffolk will serve three-course prix fixe dinner $21.95 all night except Saturday when it will be offered until 7 p.m.
- Each restaurant will have its own unique menu for a current list of participating restaurants call 631 727 2870 or visit

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The Naked Stage
TUESDAY NOVEMBER 13, 2007 at 7:30PM
The Boots Lamb Education Center at Guild Hall

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November 13-L.S. Asekoff has received funding from the National Endowment of the Arts, The New York
Foundation for the Arts and The Fund for Poetry. His poems have appeared in such journals as American Poetry Review, Poetry, The Paris Review, The New Yorker and Triquarterly. One of his poems, Rounding the Horn was included in an anthology, Best Poems of 1997. He has published two books of poetry, Dreams of a Work (1993) and North Star (1997), both with Orchises Press. He has recently completed three books of poems, The Smoke Artist, Lyre and Freedom Hill, as well as a prose/poetry journal, The White Notebook. He directs the M.F.A. program at Brooklyn College.

3 6 5 5 T H A V E N U E P A R K S L O P E

F/R Train to 4th Avenue/9th Street (btwn 5th and 6th St.)
W W W . T H E P E R C H C A F E . C O M

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GOLDA SOLOMON "The Medicine Woman of Jazz" with PO'JAZZ


THURSDAY, NOVEMBER 15th, 2007, 6 - 8 PM

As music critic Robert Iannapollo said about our "BushWacked" project, 

"Even after five years of Bush and his cronies' systematic dismantling of our governmental system, there's been little overt protest music within the field of creative jazz. Along comes saxophonist Mark Whitecage with a healthy dose of indignation. The music runs the gamut from freebop to collective improv to straight ahead swing, and every player gets a moment to shine. When the dust has settled and these mad times are just a bad memory, 'BushWacked' will still be standing tall."
- Robert Iannapollo, Signal to Noise 

$15 ($10 students/seniors) includes one drink


 ROZANNE LEVINE alto and Bb clarinets, bamboo flute 
MARK WHITECAGE alto sax, clarinet, libretto 
ROSI HERTLEIN violin, voice

ROZANNE LEVINE: "Crystal Clarinets is a model of taste, restraint, and intelligence...Rozanne plays with just a hint of vibrato; she's a lyrical soloist and a deliberate player who pays close attention to texture and dynamics and supports her band mates with refinement and empathy.." - Chris Kelsey, Jazz Now

MARK WHITECAGE: "The man is an absolute master of the alto saxophone and clarinet (not to mention a dab hand at electronics), and one of the finest and most original jazz composers in the world, and has been for years." - Dan Warburton, Paris Transatlantic, Signal to Noise 

ROSI HERTLEIN: "Hertlein is a player of very resilient technique. Her phrases and articulation recall Leroy Jenkins, but her tone is fuller and more singing." - Joe Milazzo, 

GOLDA SOLOMON: "Poet Solomon...Think of it as Jack Kerouac revisiting the Mile High City and grabbing a sandwich at the New York Deli while in town." - Norman Provizer, Rocky Mountain News 

"PO'JAZZ at CORNELIA STREET is one big friendly party of good words, good sounds, and good food." - Gladys Serrano, Mutable Music

The Cornelia Street Café 
"a culinary as well as a cultural landmark" -- Mayoral Proclamation, City of New York 1987

Tel: 212-989-9319 / Fax: 212-243-4207 / Web: 
between West 4th and Bleecker Streets, Greenwich Village 
by subway: 1 or 9 to Christopher Street - Sheridan Square; A, C, E, B, D, F & V to West 4th St.

BushWacked, begun in 1990 from Mr. Whitecage¹s composition of the same name with lyrics by Jeanne Lee, is an evolving oral critique of the political climate of the USA as culled by the artists from print and internet media, news headlines, interviews and reports, i.e., all aspects of media create the centerpiece and original jazz frees the words from the page to craft a spoken opera.

Here is what critics are saying about BushWacked - A Spoken Opera on the Acoustics label (released 2005 November):

"The 'jazz-and-much-more' raging authority unleashed by Whitecage [and company] will curl up your toes: a show-stopping virtuosity does not waste an ounce of the pulsating conceptual energy of the group, whose components encapsulate hundreds of different artistic experiences with sardonic smiles and thoroughly irreverent musicianship. Archie Shepp and ragtime, Frank Zappa and off-Broadway, anarchy and democracy: it's all here for your mental and auditive pleasure." - Massimo Ricci, Touching Extremes


Mark Whitecage and The Bi-Coastal Orchestra step up to the podium and deliver the statement of sanity many have been waiting on for five years. Whitecage's broad stylistic background is well represented by his ensemble, creating a lively listenable soundtrack equal to the seething passion in the composer's text." 
- Rex Butters, All About Jazz - LA 
[click link for complete review --] 

"Even after five years of Bush and his cronies' systematic dismantling of our governmental system, there's been little overt protest music within the field of creative jazz. Along comes saxophonist Mark Whitecage with a healthy dose of indignation. The music runs the gamut from freebop to collective improv to straight ahead swing, and every player gets a moment to shine. When the dust has settled and these mad times are just a bad memory, 'BushWacked' will still be standing tall." - Robert Iannapollo, Signal to Noise

One of the Top Ten Releases of 2005 - Rex Butters, All About Jazz - LA

"What a splendid and healing joy to listen to this CD! I just can't put it down, it's terrific and explosive stuff." - Sandile Ngidi, freelance journalist and independent producer, South Africa 


More information:

Mark Whitecage's web site -- his biography, discography, projects, photos and performance highlights:

(click link).

Rozanne Levine's web page

Wacked - A Spoken Opera sound sample and review excerpts (click link).

BushWacked - A Spoken Opera - sound samples from all tracks
(click link).

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Poetry Punch,
a delicious and heady mix of poetry at
Brooklyn Reading Works on
November 15th at 8 p.m. featuring
Lynn Chandhok, Michele Madigan Somerville,
Marietta Abrams, Zaedryn Meade (see below)
and Cheryl B.

The Old Stone House
Fifth Avenue and Third Street in Park Slope
The house is an old stone building in JJ Byrne Park.
Don't think you are lost. It's a house in a park.

Here is a poem by Zaedryn Meade,
which appears on NPR's This I Believe website.

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MOVING IMAGE TO PRESENT ‘GLORIOUS TECHNICOLOR,’ A FILM SERIES CELEBRATING THE INSTALLATION OF RARE THREE-STRIP TECHNICOLOR CAMERA IN CORE EXHIBITION New York, November 8, 2007—Rochelle Slovin, director of the Museum of the Moving Image, today announced the special extended loan of an extremely rare E series, three-strip Technicolor camera, serial number EF-2 #104. To celebrate its installation in the Museum’s core exhibition, Behind the Screen, the Museum will present the film series Glorious Technicolor!, with screenings of twelve features made using the richly expressive Technicolor process, all presented in beautiful 35mm prints, from November 17 through December 2, 2007.

“A three-strip Technicolor camera has been one of the Museum’s most sought-after artifacts,” said Ms. Slovin. “It will now be prominently displayed among the Museum’s other rare film artifacts.” The three-strip Technicolor process was introduced in 1932 and was used until 1955. It revolutionized the standard for classic Hollywood color films. Technicolor cameras simultaneously photographed the three primary colors—red, green, and blue—on separate negatives. These were layered during printing to create the lush, saturated colors that characterized Technicolor movies.

The camera is on long-term loan to the Museum by Technicolor, the world’s leading film laboratory and post-production company, a subsidiary of Thomson, a worldwide leader in digital technology. “The Museum of the Moving Image is a national treasure trove of history, knowledge, and artifacts for anyone interested in movies and television,” said Robert Hoffman, vice president of Marketing, at Technicolor, “and we are delighted that this camera will now be on view to the public as part of the great exhibition Behind the Screen.”

On Saturday, November 17, Wesleyan professor Scott Higgins, author of the new book Harnessing the Technicolor Rainbow: Color Design in the 1930s, will be present for a talk and book signing. Films to be presented on that day include the 1932 Disney animated short Flowers and Trees, the first commercial film made with the three-strip process, and a restored 35mm print of Becky Sharp, a 1935 adaptation of William Thackeray’s novel Vanity Fair, the first three-strip Technicolor feature. Also on this day, the Museum will screen the very rare 1936 western Trail of the Lonesome Pine, starring Henry Fonda and Sylvia Sidney (the first three-strip feature produced by a major studio).

Perfectly timed for the holidays, the series also includes such beloved Hollywood classics as Gone with the Wind, The Wizard of Oz, Singin’ in the Rain, and Meet Me in St. Louis. The final weekend features Francis Ford Coppola’s film Apocalypse Now: Redux, the 2001 version of his 1979 Vietnam film, which was made using a new version of the dye-transfer Technicolor process.

 The Museum thanks Bob Hoffman and Mark Doyle at Technicolor for their assistance with the gift of the camera and the presentation of the film series.

[To view and download a high-resolution jpg of the EF-2 #104, three-strip Technicolor camera, go to For film stills, please contact Tomoko Kawamoto at SCHEDULE FOR ‘GLORIOUS TECHNICOLOR! ’
All films will be shown in either vintage prints made with the dye-transfer process known as “imbibition,” or in newly restored prints.

Becky Sharp
 (photo above) Introduced by Scott Higgins. Followed by a reception and book signing.
 Saturday, November 17, 2:00 p.m.
1935, 84 mins., RKO. Restored 35mm print from the UCLA Film and TV Archive. Directed by Rouben Mamoulian. With Miriam Hopkins. In the first three-strip Technicolor feature, an adaptation of William Thackeray’s novel Vanity Fair, about a doomed social climber, Mamoulian exuberantly experimented with the dramatic power of color, allowing it to overwhelm the frame. The preservation was made possible by The Film Foundation.

Preceded by Flowers and Trees 1932, 8 mins., Disney. 35mm. Directed by Burt Gillett. The first commercial three-strip film is a cartoon in which a spring idyll is interrupted by a grouchy tree. Disney’s approach to color design in animation influenced live-action features.

Trail of the Lonesome Pine
 Saturday, November 17, 6:00 p.m.
1936, 102 mins., Paramount. 35mm IB Tech print. Directed by Henry Hathaway. With Sylvia Sidney, Fred MacMurray, Henry Fonda. This rarely seen drama about a feud between two Appalachian families and their struggle with the advance of industrialization is the first major-studio three-strip film. Paramount’s designers rejected Becky Sharp’s experiments in favor of subtlety and careful modulation.

Preceded by La Cucaracha 1934, (photo above) 20 mins., RKO. 35mm print from the UCLA Film & TV Archive. Directed by Lloyd Corrigan. Designed as a color demonstration, the first live action film shot in operatic full Technicolor is a musical-comedy-melodrama about jealous nightclub performers.

The Adventures of Robin Hood
 Sunday, November 18, 4:30 p.m.
1938, 102 mins., Warner Bros. Restored 35mm print. Directed by Michael Curtiz and William Keighley. With Errol Flynn, Olivia de Havilland. Boldly breaking with restraint to create this rousing adventure movie, Warner Bros’ top-budgeted film of 1938 had the most complex use of Technicolor to date.

Slightly Scarlet
 Sunday, November 18, 6:30 p.m.
(photo above) 1956, 99 mins., RKO. 35mm IB Tech print. Directed by Allan Dwan. With John Payne, Arlene Dahl, Rhonda Fleming. This adaptation of the James M. Cain novel Love’s Lovely Counterfeit, about two sisters drawn into a web of urban graft, is one of the few Technicolor film noirs. Cinematographer John Alton brings the 1950s widescreen aesthetic into new, dark, territory.

Meet Me in St. Louis
 Saturday, November 24, 2:00 p.m.
1944, 113 mins., MGM. Restored 35mm print. Directed by Vincente Minnelli. With Judy Garland, Margaret O’Brien. In this bittersweet turn-of-the-century musical, a family contends with life, love, and an impending move from St. Louis to New York City. In his first color film, Vincente Minnelli deftly organizes color around Judy Garland, moving seamlessly between song and story.

The Wizard of Oz
 Saturday, November 24, 4:30 p.m.
1939, 101 mins., MGM. 35mm IB Tech print. Directed by Victor Fleming. With Judy Garland, Ray Bolger, Bert Lahr, Jack Haley. MGM’s answer to Snow White and the Seven Dwarves (1937) builds a fantasy on the foundation of color. From the Emerald City to the Yellow Brick Road, Technicolor has seldom been more fundamental to a cinematic world, or more ornate.

Singin’ in the Rain
 Saturday, November 24, 7:00 p.m.
1952, 102 mins., MGM. 35mm. Directed by Stanley Donen and Gene Kelly. With Gene Kelly, Debbie Reynolds, Donald O’Connor, Jean Hagen. Donen’s film about the advent of the talkies is also an homage to Technicolor style and legacy, from the twocolor musicals of the late 1920s to the rapturous three-color spectaculars of the 1940s.

Gone with the Wind
 Sunday, November 25, 2:00 p.m.
1941, 226 mins, MGM. 35mm IB Tech print. Directed by Victor Fleming. With Vivian Leigh, Leslie Howard, Clark Gable. Selznick’s Civil War epic pushed the limits of the Technicolor process. The film is a landmark for integrating color with light and shadow; for the first time, a Technicolor close-up could rival the nuance of black-and-white.

All That Heaven Allows
 Saturday, December 1, 3:00 p.m.
1955, 89 mins, Universal, 35mm. Directed by Douglas Sirk. With Jane Wyman, Rock Hudson, Agnes Moorehead. Sirk’s classic melodrama about a widow who falls in love with a younger (and lower-class) man was remade by both Rainer Werner Fassbinder and Todd Haynes. Sirk explores new expressive potentials; using color like music to shape our reaction to the drama, he achieves a fully operatic approach.

The Gang’s All Here
 Saturday, December 1, 6:00 p.m.
1943, 103 mins, 35mm. Directed by Busby Berkeley. With Carmen Miranda. Berkeley’s stunning musical pushes Technicolor to new hallucinatory heights in one of the most visually excessive films in Hollywood’s history.

Sunday, December 2, 2:00 p.m.
1958, 128 mins., Paramount. 35mm. Directed by Alfred Hitchcock. With James Stewart, Kim Novak. This masterpiece about a retired detective obsessed with a past love is Hitchcock’s crowning achievement in the subjective use of color. It exemplifies the late 1950s experiments in Technicolor without sacrificing surface beauty and polish.

Apocalypse Now Redux
 Sunday, December 2, 5:00 p.m.
 (photo above) 1979, 202 mins, United Artists. 35mm IB print from The Museum of Modern Art. Directed by Francis Ford Coppola. With Marlon Brando, Martin Sheen. For this 2001 edition of his Vietnam-era adaptation of Joseph Conrad’s Heart of Darkness, Coppola used a new version of the dye-transfer process. A few prints were mechanically dyed in order to lend Vittorio Storaro’s cinematography a new depth, saturation, and lushness.

Hours: Wednesdays & Thursdays, 11:00 a.m. to 5:00 p.m. Fridays, 12:00 to 8:00 p.m. Saturdays & Sundays, 11:00 a.m. to 6:30 p.m. (Tuesday, school groups only by appointment.)
Holiday note: The Museum will be open Monday, November 12 (Veterans Day observed), 11 a.m. to 5 p.m. and closed on Thursday, November 22 (Thanksgiving).
Film Screenings: Saturday and Sunday afternoons, and additional as scheduled.
Museum Admission: $10.00 for adults; $7.50 for persons over 65 and for students with ID; $5.00 for children ages 5-18. Children under 5 and Museum members are admitted free. Admission to the galleries is free on Fridays, 4:00 to 8:00 p.m. Paid admission includes film screenings (except for special ticketed events)
 Location: 35 Avenue at 36 Street in Astoria.
Subway: R or V trains (R or G on weekends) to Steinway Street. N or W trains to 36 Avenue.
Program Information: Telephone: (718) 784-0077; Website:

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November 20-Mitch Levenberg has published essays and short fiction in such journals as Fiction, The
Common Review, Cream City Review, The New Delta Review, The Saint Ann’s Review and others. His collection of short stories, Principles of Uncertainty and Other Constants was published in March, 2006. He teaches creative writing at N.Y.U. and St. Francis College, and lives around the corner with his wife, daughter, three dogs and one hamster.

3 6 5 5 T H A V E N U E P A R K S L O P E

F/R Train to 4th Avenue/9th Street (btwn 5th and 6th St.)
W W W . T H E P E R C H C A F E . C O M

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