31 Aralık 2012 Pazartesi

A Children's Tale Tree (Digital Painting By Gustavo Thomas. 2012)

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A Children's Tale Tree  (Digital painting. 2012)
A Children's Tale Tree
(Digital Painting. Gustavo Thomas © 2012. All Rights Reserved.)



To tell stories for children, either by writing or playing, you need a fantastic tree full of colour and simplicity. 
There will be time to start writing them ...



Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.


Don't Want To Look Guilty (A Video From My Butoh Vlog. 2012)

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"Don't Want To Look Guilty"

Butoh Vlog (Sep 20, 2012): Don't Want To Look Guilty 
  from Gustavo Thomas on Vimeo.

 This is part of my daily morning training, and nothing else. After walking and working with some postures and inner images, a short choreography emerges, that's what you see in this Butoh vlog.


Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

L'esprit de la danse à Montréal / The Spirit of the Dance in Montreal (Digital Work Over Photography By Gustavo Thomas. 2012)

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L'esprit de la danse à Montréal / El espíritu de la danza en Montreal (Digital Work Over Photography. 2012)
L'esprit de la danse à Montréal / The Spirit of the Dance in Montreal

(Digital Work Over Photography. By Gustavo Thomas © 2012. All Rights Reserved)



Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

A video with the poem "Hace Tanto" (It's been so long) (Read By Gustavo Thomas)

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I've been recording in video some of my poems reading by me (in Spanish); first the reading and after the text. We'll see how it goes.

I'm a writer in Spanish so, my writings are in that language; sometimes I publish the translation to English, but sometimes not, it will be always an approximation to the original one.

Video of the poem "Hace tanto"
Hace tanto (Poema de y por Gustavo Thomas) from Gustavo Thomas on Vimeo.
Hace tanto

Possible translation:


It's been so long


It's been so long since I saw your breasts
uncovered when it dawns,
nor your smile when you see me
and those eyes closing again

I have lost your smell, or I mistake it,
 but not your sound that moans,
nor your hands that touch,
and those warm lips that welcome me./

I have them here.../

You're not who walks at my side anymore,
nor who sweats when I ejaculate tired

Woman, you're not anymore
she who receives my embrace!/

I don't have you here!/

I also know of something that I miss from you:
your buttocks, your feet so cold
and your hair so long./


Gustavo Thomas © September 2011
(Translated by Tadeo Berjon © 2012)


Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

Das Lied Ist Aus (A video from my Butoh Vlog)

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Das Lied Ist Aus (Butoh Vlog. Gustavo Thomas © 2012)


This is part of my daily morning training, and nothing else. After walking and working with some postures and inner images, a short choreography emerges, that's what you see in this Butoh vlog.
The music you are listening in the video wasn't that I was working with during my training, it was added later during the edition.


Video:

Das Lied Ist Aus (Butoh Vlog. Oct 2nd, 2012) from Gustavo Thomas on Vimeo.




Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

 

27 Aralık 2012 Perşembe

Mt. Tom Farmers' Market

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Every Saturday morning from mid May-mid October, local farmers and crafts people gather across the street from the Artistree in Woodstock for the Mt. Tom Farmers' Market. Each season sees more vendors of fresh local food and locally made crafts. The Market runs from 9:30-12:30. Check it out!

More images at the Vermont Standard Photo Gallery: http://thevermontstandard.smugmug.com/2012-July/Mt-Tom-Farmers-Market/24089250_jfWzSj#!i=1956838494&k=WrZqvGZ and in the July 12 newspaper on newsstands today.


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Pomfret's Annual Strawberry Dinner

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On a beautiful Summer Saturday evening, the North PomfretCongregational Church hosted its annual Strawberry Supper. The group has beenholding these suppers for at least 70 years and some say as long as 90 years(the North Pomfret Ladies Circle plans to research the events history thiswinter using old diaries and possibly the Vermont Standard.) Three seatingtimes allow the 300 plus community members, friends and vacationers to enjoy a familystyle volunteer baked dinner of ham, potato salad, baked beans, dinner rolls,deviled eggs and of course Strawberry Shortcake. One of the volunteers and herhusband spent all day Friday baking 500 strawberry shortcake biscuits.

Inaddition to the dinner the Ladies Circle holds a bake sale, a crafts sale and araffle for the Circle’s hand made quilt—winner to be announced at the FallHarvest Supper.



More images at the Vermont Standard Photo Gallery: http://thevermontstandard.smugmug.com/2012-July/Pomfret-Strawberry-Supper/24089395_PhCPF2#!i=1956851138&k=vRvS96c and in the July 12 newspaper on newsstands today.

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What's Up This Weekend...

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Today in Wilder VT 4-5:30 PM
Jed and Dave at the Local Legends 2009
Jed Dickinson and Dave Clark perform and will demonstrate Harmonica playing for children ages 5-12. Location: The Wilder Club and Library 78 Norwich Ave. The event is free, for more info call 802.295.6341. MAP

Today in Hartland VT 4-7 PM

Farmer's Market 153 Rte 5 from 4-7 PM
ERIK BOEDETKER & JOHNNY O perform
Map


SATURDAY in West Windsor 10 AM
The Bower's Covered Bridge Returns Home
Following the destruction caused by Tropical Storm Irene in August 2011, the Town of West Windsor has been restoring their beloved covered bridge. The ceremony to place the bridge on its concrete abutments, after much delay, will take place this weekend. Photos by Nanci began coverage of this story back in March and hopes to close the story out this weekend.


Bowers Covered Bridge Restoration
For the Vermont Standard
Image Gallery
Bible Hill RD Brownsville VT  March 19, 2012
The Vermont Standard Video


Full Length Documentary

For the backstory check out FEMA.gov Bowers





SATURDAY in Taftsville 5-8 PM 
Fundraiser for Vermont Adaptive Therapeutic Riding Program

Second AnnualBenefit Dinner at Moonrise farmAt Moonrise Farmwe collaborate with Vermont Adaptive Ski and Sports to provide therapeuticequine activities in Taftsville, VT.  Our mission is to enhance thewellbeing of children and adults with special needs within our communitythrough partnering with a horse and developing personal and social competencies. Benefit monies raised willgo toward scholarships for Vermont Adaptive students and to support our elderlyequine teachers! 5:00 pm- Equine playgroundopening celebration6:00 pm- Social hour, silentauction & great music!6:30 pm – Dinner and dessertfeaturing local products 
Cost:  $60/adult   $30/youth www.vermontadaptive.org   RSVP by July 6th 802-345-5637




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Just Horsin' Around for a Good Cause

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MoonRise Farm in Taftsville hosted a multi-faceted event onSaturday. It was the farm’s 10th anniversary, they opened theirEquine Playground and hosted a benefit dinner for scholarships to theirTherapeutic Riding Program specifically for the Vermont Adaptive Riding Program. The dinner featured food donated by local farms andchefs and featured barbequed chicken prepared by Taftsville resident RobertMaynard. Robert is a cowboy from Florida who now lives in Vermont. Hevolunteers and horse trains at MoonRise Farm and brought his special secret “goatsauce” to the barbeque.
More images: http://thevermontstandard.smugmug.com/2012-July/MoonRise-Farm-fund-raiser/24228269_75gtLV#!i=1971397867&k=Z6p8wbj

Vermont Standard Video of the Event:



2nd Annual Dinner to Benefit Vermont Adaptive’s Therapeutic Riding ProgramMoonRise Farm 10th Anniversary and Opening of the Equine PlaygroundTaftsville VT July 14, 2012Copyright ©2012 Nancy Nutile-McMenemywww.photosbynanci.comFor The Vermont Standard: http://www.thevermontstandard.com/Image Galleries: http://thevermontstandard.smugmug.com/
Follow Photos By Nanci at:photosbynanci.com 
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Hartland Farmers' Market

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Even the 90 degree heat couldn’t keep folks away from theHartland Farmer’s Market Friday the 13th. Plenty of local vendors on hand with flavorediced teas and lemonade for folks to quench their thirst while shopping forfresh locally grown produce and homemade breads, spreads and pastries. The Market is open every Friday through October on the lawn in front of the Hartland Library.


More images on the Vermont Standard Gallery page: Hartland Farmers Market. Check out the newspaper too!
Follow Photos By Nanci at:photosbynanci.com 
Photos by Nanci Blog
SmugMug Galleries
YouTube
Twitter 
Facebook 

20 Aralık 2012 Perşembe

Book Review: The Heebie-Jeebies at CBGB's: A Secret History of Jewish Punk by Steven Lee Beeber

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It's an odd bit of nomenclature, the difference in implication in theexpressions "Christian musician" and "Jewish musician." To call someonea Christian musician is taken to mean an artist whose material dealswith religious and spiritual matters. Christian music is a recognizedgenre, even with its own Billboardcharts. However, to call someone a Jewish musicians refers only totheir religious background but says nothing about content of theirsongs. To talk about Jewish musicians, the default assumption issecular music by people who happen to be Jewish.

All of which boils down to this: don't approach Steven Lee Beeber'sbook TheHeebie-Jeebies at CBGB's: A Secret History of Jewish Punkexpecting to learn about an unknown subgenre of punk featuring thelikes of a sped-up, angry version of "Kol Nidre," not that anyone isapt to make that mistake. Beeber even makes his outlookexplicit, examining what it means to be Jewish from a cultural ratherthan religious perspective, on par with being Italian, Irish or Indianrather than Catholic or Hindu. He may trot out anecdotes about barmitzvahs as evidence of Lou Reed's religious heritage, but Beeber ismuch more interested in Jews as an ethnic rather than religious group.And the big surprise is that the history of punk includes a lot of Jewsin crucial roles.

Beeber goes far beyond the mere curiosity "outing" Jewish punks. Sure,you know that Joey Ramone was Jewish, but did you guess that TommyRamone is, too? The author even questions his own motivation whenRichard Hell (né Meyers) asks Beeber his point in writingthe book. Beeber examines the common cultural forces that influencedthis set of people. Some manifestations are overt, such as the Ramones'exhortation to eat Kosher salami. Others are more subtle, such as thestatus of Jews as outsiders in American society and rebellion againstparental desires to assimilate via respectable high-paying professions.

The author trips up when he lacks primary sources. Most notably in thechapters on Lou Reed and the reclusive Jonathan Richman, he strugglesto interpret their inspiration through their lyrics and other pressclippings. In doing so, his analysis gets stretched too thin and hiswriting becomes repetitive. In other instances, he worked around hisinability to interview his subjects by drawing on other sources.Richard Hell was suspicious of Beeber's angle and refused to beinterviewed, but Beeber researched Hell's archival materials at NYU forinsights. Joey Ramone died before Beeber began to work on the book, butthose close to Joey were clearly forthcoming about him.

The book's greatest strength is in examining early punk's obsessionwith Nazi Germany. The Ramone's brought it to the forefront with one oftheir most political songs, "Bonzo Goes to Bitburg." But before that,many in the scene used Nazi iconography in their work or collected itprivately. Beeber teases this out, observing the place of thisgeneration of Jews in history. For many, they were just young enough tohave not been directly affected by the Holocaust but just old enough togrow up around those who were. Drawing on Susan Sontag's work in Notes on "Camp," hetheorizes that the obsession is a manifestation of an ultimatepsychology victory over the Nazis.

Many ethnic groups take justifiable pride in the accomplishments of itsmembers in various fields. But in chronicling the impact of people suchas band managers Danny Fields and Malcolm McLaren, CBGB's founder HillyKristal, Chris Stein of Blondie and Lenny Kaye of the Patti Smith Groupas well as lesser lights in the punk spectrum, Beeber assembles acompelling argument. The Jewish experience provided a unique influenceon this group of people, and without this cluster of Jews, punk as weknow it would not exist.

Kickin' It Real Old School

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My blog was dormant for two months because I'm back in school, pursuinga masters in music at Tufts, which has left me with little time to seeshows or even blog. My first major paper was on a historic music textin one of Tufts' special collections, A General History of Musicby Charles Burney. It was one of the first two comprehensive historiesof music published in England. Burney released his first volume inJanuary, 1776 but didn't finish the four-volume series until 1789. Hisrival Sir John Hawkins released his history 10 months later in itsentirety. The rivalry was immediate and has persisted for 200 years.Hawkins's strength was in his coverage of ancient music, but that'sabout the only advantage he held. Burney's writing style wasaccessible, and the clear structure of the work made it a usefulresearch tool, whereas Hawkins's style was detached and the work is sodisorganized that it is difficult to find a particular subject withinthe text. While Hawkins intentionally excluded contemporary music,viewing it as worthless, Burney embraced it; it is largely because ofhis extensive coverage of his contemporaries that he is still citedtoday. Besides being an antiquarian, Hawkins was also a curmudgeon,while Burney's social skills allowed him to travel in more prestigiouscircles than his middle class background might have limited him to. Thestory has the makings of a great screenplay.

As I gingerly leafed through Burney's and Hawkins's books, it occurredto me that I doubt I've ever touched anything that old other than abuilding. And as I synthesized my research materials, I started to feelkinship with Burney. I have immersed myself in the world ofcontemporary music but struggle to make sense of music of the distantpast, and until now my knowledge of music history has been throughself-study and interaction with musicians. I'd like to think that mywriting is accessible, but I am humble enough to seriously doubt thatanyone will be quoting me 200 years from now.

Concert Review: The English Beat, Johnny D's, Somerville, January 4

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The English Beat are better than you remember. Off the top of yourhead, you can only recall "Mirror in the Bathroom" and their cool logo.But they have more songs that make you go, "Oh, yeah, this isreally good," than you realized. And they can get a party going on acold Tuesday night in January like nobody's business.

"How Can You Stand There?" was the unofficial theme song for the night.It was probably about political apathy, but it applied to the audienceat a more literal level to the few hold-outs in the audience. Most ofthe sold-out crowd at Johnny D's was on their feet and dancing. Evenpeople with seats at tables on the edges of the crowded room were upand moving. Dave Wakeling could taunt someone up front for standingstill with arms folded only because it was a rarity. Even moreimpressive about "How Can You Stand There?" is that it was a new song,not yet recorded, but it fit in so easily with their repertoire of hitsthat the audience never slowed down.

And the major and minor hits kept coming: "Hands Off She's Mine," "IConfess," "Best Friend," "Twist and Crawl," "Save It For Later" (Seewhat I said about more good songs than you remember?) They brought outthe covers that they put their own stamp on, "Tears of a Clown," "Can'tGet Used to Losing You" and "I'll Take You There." Guitarist and singerDave Wakeling is the only original member still with the band; thecurrent keyboard player probably wasn't even born when the RankingRoger was bobbing around in videos in the early days of MTV. But theline-up in tight, ably delivering the material that made the band theepitome of the early '80s ska revival.

No, the evening wasn't perfect. While it was impressive that theyplayed more than two hours, the energy in the room sagged at around the1 hour 45 mark; they could have trimmed a few songs and still kept theaudience more than satisfied. And it's hard to fully endorse a group soclearly trading on nostalgia. But it's also hard to fault a band thatgenerates so much fun.

Why I'm Not Reviewing Ida Maria's New Album

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I loved Ida Maria's debut album, Fortress 'Round My Heart. It's one of my favorite albums of the last five years, so I jumped at the chance to review Katla, her recent follow-up. But my primary outlet for album reviews these days is CD Hotlist, an online publication aimed at people who buy music recordings for libraries. And that's the hitch. Katla is part of a growing trend of albums that are only available as digital downloads, not in physical form. To make a long story short, because of standard end-user license agreements, libraries can't buy digital downloads for their borrowers to use. My colleague D. J. Hoek has written about this issue in greater detail. So there is no point in CD Hotlist running a review of an album that libraries can't buy.I'm hoping the situation will change. In the short run, I hope Ida Maria's label will view Katla as enough of a priority to issue it on CD. In the long run, I hope the copyright laws will change or vendors will change their restrictions so that libraries can collect, preserve and allow access to digital-only recordings. I've got a review of the album ready to go. The short version is that it's awesome.

Culture..or a Vice?

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A group of folks at work were talking the other day as we often do. The topic came up on how people “get in to things”. What was meant was, how does one person love photograph, the next person music, the next person chess. All of these are under that “for example” moniker. Everyone dabbles in things, art, literature, sports etc but what pulls people in to certain things that “become them”.

Look around your office, or school. You know the jock, the music geek, the person that can craft like crazy, the person that can bake like a champ.
Could it be the “culture” of those activities? It must be.
I began playing ice hockey in elementary school. For better or worse, I stepped away from the game during high school, but now I skate weekly as part of pick up game. Going to the rink, getting dressed, chatting with guys that I only see once a week and then going out and having fun. The sights, the sounds..and yeah the smells are make for part of the experience.
People might say “yeah you wouldn't get it” when you ask “Why do you play ________, or how do you listen to __________”. It is not even that you are negative about the topic. Jazz music for example people might find challenging, while the next person loves to dissect the whole thing.
How can one join this culture as well? There are things as of late that I have been thinking that I love the whole “culture” that surrounds it.
Old School Cocktails – maybe its “Mad Men” but never has one TV show made me just want to get a decanter and leave booze out. Have a bucket of ice on hand..ready to go. I like beer, I like the glasses, the colors the ambiance of a dive bar. Something about “cocktails” though. Perhaps because I am not even sure what is in stuff, or how to order things. I like it all.
Smoking culture – see “mad men” again. Face it, if smoking wasn't bad for you, everyone would do it.   We realize its not good for us and the cons are so “out there” for us to grasp but I like the whole “culture” of smoking. From the smell of a pipe...lets face it..last time you smelled one? To watching someone hand roll a cigarette. Even the art of cutting and prepping a cigar is pretty cool to watch. The ash trays, the fancy lighters. Maybe I need to look back to the “golden age” if you will of smoking. A pack of generic smokes with a disposable lighter...i can see it not being cool. Think, unfiltered, hand rolled cigarette with a cool pedestal ash tray, and at the very least , chrome zippo lighter...get it yet?
Coffee - I am a coffee drinker, but 95% of what I drink is decaf. Long story short, I worked for a guy that drank a CRAP load of coffee and often he'd buy. One day I tried to keep up...and lets just say next to a bad hangover the caffeine shakes were enough to keep me away. I drink 2 cups of decaf a day during the work week and maybe one on the weekend. I can have “real” coffee, but will do so only in a pinch. Again, the culture of it though. I wish I liked the espressos and cappuccinos. The art of making them (well) and enjoying one on a sidewalk cafe. I struggle with Iced Coffee as well, but when I see someone with that ice filled light brown liquid I long to like it....but I can't. Its just not very good cold to me.
Running – of all things! It is something that anyone can do. Strap on some sneakers and hit the road. Sure you need to worry about knees, dogs, cars and all that..but every time I see an ad for a 5K or a person running I want to get out and do that....2013? Who knows.....
Most things are probably what you grew up with. My Dad smoked a pipe for years and years, so I associate that smell with him. Odd that these are all seen as “vices” that I wrote about too.
What about you?

16 Aralık 2012 Pazar

A Children's Tale Tree (Digital Painting By Gustavo Thomas. 2012)

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A Children's Tale Tree  (Digital painting. 2012)
A Children's Tale Tree
(Digital Painting. Gustavo Thomas © 2012. All Rights Reserved.)



To tell stories for children, either by writing or playing, you need a fantastic tree full of colour and simplicity. 
There will be time to start writing them ...



Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.


Don't Want To Look Guilty (A Video From My Butoh Vlog. 2012)

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"Don't Want To Look Guilty"

Butoh Vlog (Sep 20, 2012): Don't Want To Look Guilty 
  from Gustavo Thomas on Vimeo.

 This is part of my daily morning training, and nothing else. After walking and working with some postures and inner images, a short choreography emerges, that's what you see in this Butoh vlog.


Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

L'esprit de la danse à Montréal / The Spirit of the Dance in Montreal (Digital Work Over Photography By Gustavo Thomas. 2012)

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L'esprit de la danse à Montréal / El espíritu de la danza en Montreal (Digital Work Over Photography. 2012)
L'esprit de la danse à Montréal / The Spirit of the Dance in Montreal

(Digital Work Over Photography. By Gustavo Thomas © 2012. All Rights Reserved)



Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

9 Different Dreams Of Coldenss And Humidity (Digital Work Over Photographs From my Butoh Vlog. 2012)

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9 Different Dreams Of Coldness And Humidity: Dream 1 (From my Butoh Vlog)
9 Different Dreams Of Coldenss And Humidity (Gustavo Thomas © 2012)

Those who follow my Blog know very well that my Butoh Vlog has become an unique source of visual art exploration, in video and in digital art and photography as well. Today I want to show to you a series of manipulated still photographies from one video of one of my Butoh trainings. These photographies acquired their own life when I was digitally working with them, and now are totally separated from the first impulse that provoked the movement in my training that day; you can imagine that is something I really love. They are now a series of 9 pieces that I've named: "9 Different Dreams Of Coldenss And Humidity".

Even you have here a slideshow with the 9 photographs, you can still going to the link in flickr and watching them separately, if you want: http://www.flickr.com/photos/gustavothomastheatre/sets/72157632111679604/

Slideshow of "9 Different Dreams Of Coldenss And Humidity"





Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

Greensleeves (Video from my Butoh Vlog. Gustavo Thomas. 2012)

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Greensleeves (Gustavo Thomas © 2012)


This is part of my daily morning training, and nothing else. After walking and working with some postures and inner images, a short choreography emerges, that's what you see in this Butoh vlog.
The music you are listening in the video wasn't that I was working with during my training, it was added later during the edition.


Greensleeves (Gustavo Thomas Butoh Vlog. Oct 1st, 2012) from Gustavo Thomas on Vimeo.




Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

12 Aralık 2012 Çarşamba

Hartland Farmers' Market

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Even the 90 degree heat couldn’t keep folks away from theHartland Farmer’s Market Friday the 13th. Plenty of local vendors on hand with flavorediced teas and lemonade for folks to quench their thirst while shopping forfresh locally grown produce and homemade breads, spreads and pastries. The Market is open every Friday through October on the lawn in front of the Hartland Library.


More images on the Vermont Standard Gallery page: Hartland Farmers Market. Check out the newspaper too!
Follow Photos By Nanci at:photosbynanci.com 
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"Detroit Industry", A Diego Rivera's Fresco at the Detroit Institute of Arts (2012)

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Diego Rivera's mural "Detroit Industry" at Detroit Institute of Arts (Detroit. 2012)
"Detroit Industry" A Diego Rivera's fresco at the Detroit Institute of Arts (Gustavo Thomas © 2012)

To look at any of the Mexican masters of art in museums and exhibitions abroad is not only very interesting but it also makes one very proud. The history of the Detroit Institute of Arts and Diego Rivera (as well as the fashion of wondering what Frida Kahlo was doing at that same time) is already part of the mythology of the history of art in Mexico, and possibly in the world. Although Detroit is currently not the best place to visit in the United States (the city is mired in an economic crisis that has left it half-desolate and with extremely high levels of violence and poverty), the DIA, as the museum is known, is still one of the best places to appreciate world-class painting and its collection is truly one of the most beautiful and interesting that I have seen. *
The fresco (mural) "Detroit Industry" was painted by Diego Rivera between 1932 and 1933; we Mexicans know it from our elementary school books (at least those of my school years) and its images are present in tens of illustrations about Mexican muralism. Its main theme is precisely the Detroit industry, which is none other than the automotive and related ones. Apparently it's Diego Rivera's the largest mural outside Mexico.
Just after one enters the museum the receptionists offer detailed information about the highlights of their permanent collection among which, of course, is "The Industry Of Detroit"; you receive a clear explanation of how to get to the room where the mural is, in the central hall of the museum, a privileged space due to its light and spaciousness.
Diego Rivera's mural "Detroit Industry" at Detroit Institute of Arts (Detroit. 2012)
"Detroit Industry" A Diego Rivera's fresco at the Detroit Institute of Arts (Gustavo Thomas © 2012)

After what little I've read of the research that Renato González Mello has done on the esoteric part of Diego Rivera in his works in Mexico City (especially the mural in the central building of the minister of education, "La SEP"), I could look at this fresco in Detroit with a new idea in my head; at some other moment I would have contemplated it only aesthetically as a perhaps direct and propagandistic remnant of social movements of the last century (like socialism, class conflict, etc.) and, though it certainly is very influenced by that, the addition of an esoteric interpretation extends the enjoyment and learning from what is observed.  Then those images of curvy women, of plants and fruits, of earth, roots and seeds, and of course the positions of the characters and the colors used within the overall composition of the painting, acquire another dimension. Obviously I am not an expert and I will not delve deeper, but I can refer you to the latest research on the work of Diego Rivera by Dr. González Mello et al.I share here my photos of the mural.   I hope you enjoy them.

Diego Rivera's mural "Detroit Industry" at Detroit Institute of Arts (Detroit. 2012)
"Detroit Industry" A Diego Rivera's fresco at the Detroit Institute of Arts (Gustavo Thomas © 2012)

Diego Rivera's mural "Detroit Industry" at Detroit Institute of Arts (Detroit. 2012)
"Detroit Industry" A Diego Rivera's fresco at the Detroit Institute of Arts (Gustavo Thomas © 2012)

Diego Rivera's mural "Detroit Industry" at Detroit Institute of Arts (Detroit. 2012)
"Detroit Industry" A Diego Rivera's fresco at the Detroit Institute of Arts (Gustavo Thomas © 2012)

Slideshow of photographs of Diego Rivera's fresco "Detroit Industry"







* I've already published in the Blog some photographs of Vincent van Gogh's painting The Diggers.

About "Detroit's destruction" maybe this note by the BBC about Detropia, a documentary, helps to understand the current situation in the city: http://www.bbc.co.uk/news/entertainment-arts-19578766 





Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.



A Children's Tale Tree (Digital Painting By Gustavo Thomas. 2012)

To contact us Click HERE

A Children's Tale Tree  (Digital painting. 2012)
A Children's Tale Tree
(Digital Painting. Gustavo Thomas © 2012. All Rights Reserved.)



To tell stories for children, either by writing or playing, you need a fantastic tree full of colour and simplicity. 
There will be time to start writing them ...



Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.


Don't Want To Look Guilty (A Video From My Butoh Vlog. 2012)

To contact us Click HERE

"Don't Want To Look Guilty"

Butoh Vlog (Sep 20, 2012): Don't Want To Look Guilty 
  from Gustavo Thomas on Vimeo.

 This is part of my daily morning training, and nothing else. After walking and working with some postures and inner images, a short choreography emerges, that's what you see in this Butoh vlog.


Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

L'esprit de la danse à Montréal / The Spirit of the Dance in Montreal (Digital Work Over Photography By Gustavo Thomas. 2012)

To contact us Click HERE


L'esprit de la danse à Montréal / El espíritu de la danza en Montreal (Digital Work Over Photography. 2012)
L'esprit de la danse à Montréal / The Spirit of the Dance in Montreal

(Digital Work Over Photography. By Gustavo Thomas © 2012. All Rights Reserved)



Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

11 Aralık 2012 Salı

Hartland Farmers' Market

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Even the 90 degree heat couldn’t keep folks away from theHartland Farmer’s Market Friday the 13th. Plenty of local vendors on hand with flavorediced teas and lemonade for folks to quench their thirst while shopping forfresh locally grown produce and homemade breads, spreads and pastries. The Market is open every Friday through October on the lawn in front of the Hartland Library.


More images on the Vermont Standard Gallery page: Hartland Farmers Market. Check out the newspaper too!
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Book Review: The Heebie-Jeebies at CBGB's: A Secret History of Jewish Punk by Steven Lee Beeber

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It's an odd bit of nomenclature, the difference in implication in theexpressions "Christian musician" and "Jewish musician." To call someonea Christian musician is taken to mean an artist whose material dealswith religious and spiritual matters. Christian music is a recognizedgenre, even with its own Billboardcharts. However, to call someone a Jewish musicians refers only totheir religious background but says nothing about content of theirsongs. To talk about Jewish musicians, the default assumption issecular music by people who happen to be Jewish.

All of which boils down to this: don't approach Steven Lee Beeber'sbook TheHeebie-Jeebies at CBGB's: A Secret History of Jewish Punkexpecting to learn about an unknown subgenre of punk featuring thelikes of a sped-up, angry version of "Kol Nidre," not that anyone isapt to make that mistake. Beeber even makes his outlookexplicit, examining what it means to be Jewish from a cultural ratherthan religious perspective, on par with being Italian, Irish or Indianrather than Catholic or Hindu. He may trot out anecdotes about barmitzvahs as evidence of Lou Reed's religious heritage, but Beeber ismuch more interested in Jews as an ethnic rather than religious group.And the big surprise is that the history of punk includes a lot of Jewsin crucial roles.

Beeber goes far beyond the mere curiosity "outing" Jewish punks. Sure,you know that Joey Ramone was Jewish, but did you guess that TommyRamone is, too? The author even questions his own motivation whenRichard Hell (né Meyers) asks Beeber his point in writingthe book. Beeber examines the common cultural forces that influencedthis set of people. Some manifestations are overt, such as the Ramones'exhortation to eat Kosher salami. Others are more subtle, such as thestatus of Jews as outsiders in American society and rebellion againstparental desires to assimilate via respectable high-paying professions.

The author trips up when he lacks primary sources. Most notably in thechapters on Lou Reed and the reclusive Jonathan Richman, he strugglesto interpret their inspiration through their lyrics and other pressclippings. In doing so, his analysis gets stretched too thin and hiswriting becomes repetitive. In other instances, he worked around hisinability to interview his subjects by drawing on other sources.Richard Hell was suspicious of Beeber's angle and refused to beinterviewed, but Beeber researched Hell's archival materials at NYU forinsights. Joey Ramone died before Beeber began to work on the book, butthose close to Joey were clearly forthcoming about him.

The book's greatest strength is in examining early punk's obsessionwith Nazi Germany. The Ramone's brought it to the forefront with one oftheir most political songs, "Bonzo Goes to Bitburg." But before that,many in the scene used Nazi iconography in their work or collected itprivately. Beeber teases this out, observing the place of thisgeneration of Jews in history. For many, they were just young enough tohave not been directly affected by the Holocaust but just old enough togrow up around those who were. Drawing on Susan Sontag's work in Notes on "Camp," hetheorizes that the obsession is a manifestation of an ultimatepsychology victory over the Nazis.

Many ethnic groups take justifiable pride in the accomplishments of itsmembers in various fields. But in chronicling the impact of people suchas band managers Danny Fields and Malcolm McLaren, CBGB's founder HillyKristal, Chris Stein of Blondie and Lenny Kaye of the Patti Smith Groupas well as lesser lights in the punk spectrum, Beeber assembles acompelling argument. The Jewish experience provided a unique influenceon this group of people, and without this cluster of Jews, punk as weknow it would not exist.

Kickin' It Real Old School

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My blog was dormant for two months because I'm back in school, pursuinga masters in music at Tufts, which has left me with little time to seeshows or even blog. My first major paper was on a historic music textin one of Tufts' special collections, A General History of Musicby Charles Burney. It was one of the first two comprehensive historiesof music published in England. Burney released his first volume inJanuary, 1776 but didn't finish the four-volume series until 1789. Hisrival Sir John Hawkins released his history 10 months later in itsentirety. The rivalry was immediate and has persisted for 200 years.Hawkins's strength was in his coverage of ancient music, but that'sabout the only advantage he held. Burney's writing style wasaccessible, and the clear structure of the work made it a usefulresearch tool, whereas Hawkins's style was detached and the work is sodisorganized that it is difficult to find a particular subject withinthe text. While Hawkins intentionally excluded contemporary music,viewing it as worthless, Burney embraced it; it is largely because ofhis extensive coverage of his contemporaries that he is still citedtoday. Besides being an antiquarian, Hawkins was also a curmudgeon,while Burney's social skills allowed him to travel in more prestigiouscircles than his middle class background might have limited him to. Thestory has the makings of a great screenplay.

As I gingerly leafed through Burney's and Hawkins's books, it occurredto me that I doubt I've ever touched anything that old other than abuilding. And as I synthesized my research materials, I started to feelkinship with Burney. I have immersed myself in the world ofcontemporary music but struggle to make sense of music of the distantpast, and until now my knowledge of music history has been throughself-study and interaction with musicians. I'd like to think that mywriting is accessible, but I am humble enough to seriously doubt thatanyone will be quoting me 200 years from now.

Concert Review: The English Beat, Johnny D's, Somerville, January 4

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The English Beat are better than you remember. Off the top of yourhead, you can only recall "Mirror in the Bathroom" and their cool logo.But they have more songs that make you go, "Oh, yeah, this isreally good," than you realized. And they can get a party going on acold Tuesday night in January like nobody's business.

"How Can You Stand There?" was the unofficial theme song for the night.It was probably about political apathy, but it applied to the audienceat a more literal level to the few hold-outs in the audience. Most ofthe sold-out crowd at Johnny D's was on their feet and dancing. Evenpeople with seats at tables on the edges of the crowded room were upand moving. Dave Wakeling could taunt someone up front for standingstill with arms folded only because it was a rarity. Even moreimpressive about "How Can You Stand There?" is that it was a new song,not yet recorded, but it fit in so easily with their repertoire of hitsthat the audience never slowed down.

And the major and minor hits kept coming: "Hands Off She's Mine," "IConfess," "Best Friend," "Twist and Crawl," "Save It For Later" (Seewhat I said about more good songs than you remember?) They brought outthe covers that they put their own stamp on, "Tears of a Clown," "Can'tGet Used to Losing You" and "I'll Take You There." Guitarist and singerDave Wakeling is the only original member still with the band; thecurrent keyboard player probably wasn't even born when the RankingRoger was bobbing around in videos in the early days of MTV. But theline-up in tight, ably delivering the material that made the band theepitome of the early '80s ska revival.

No, the evening wasn't perfect. While it was impressive that theyplayed more than two hours, the energy in the room sagged at around the1 hour 45 mark; they could have trimmed a few songs and still kept theaudience more than satisfied. And it's hard to fully endorse a group soclearly trading on nostalgia. But it's also hard to fault a band thatgenerates so much fun.

Why I'm Not Reviewing Ida Maria's New Album

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I loved Ida Maria's debut album, Fortress 'Round My Heart. It's one of my favorite albums of the last five years, so I jumped at the chance to review Katla, her recent follow-up. But my primary outlet for album reviews these days is CD Hotlist, an online publication aimed at people who buy music recordings for libraries. And that's the hitch. Katla is part of a growing trend of albums that are only available as digital downloads, not in physical form. To make a long story short, because of standard end-user license agreements, libraries can't buy digital downloads for their borrowers to use. My colleague D. J. Hoek has written about this issue in greater detail. So there is no point in CD Hotlist running a review of an album that libraries can't buy.I'm hoping the situation will change. In the short run, I hope Ida Maria's label will view Katla as enough of a priority to issue it on CD. In the long run, I hope the copyright laws will change or vendors will change their restrictions so that libraries can collect, preserve and allow access to digital-only recordings. I've got a review of the album ready to go. The short version is that it's awesome.

8 Aralık 2012 Cumartesi

A Children's Tale Tree (Digital Painting By Gustavo Thomas. 2012)

To contact us Click HERE

A Children's Tale Tree  (Digital painting. 2012)
A Children's Tale Tree
(Digital Painting. Gustavo Thomas © 2012. All Rights Reserved.)



To tell stories for children, either by writing or playing, you need a fantastic tree full of colour and simplicity. 
There will be time to start writing them ...



Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.


Don't Want To Look Guilty (A Video From My Butoh Vlog. 2012)

To contact us Click HERE

"Don't Want To Look Guilty"

Butoh Vlog (Sep 20, 2012): Don't Want To Look Guilty 
  from Gustavo Thomas on Vimeo.

 This is part of my daily morning training, and nothing else. After walking and working with some postures and inner images, a short choreography emerges, that's what you see in this Butoh vlog.


Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

L'esprit de la danse à Montréal / The Spirit of the Dance in Montreal (Digital Work Over Photography By Gustavo Thomas. 2012)

To contact us Click HERE


L'esprit de la danse à Montréal / El espíritu de la danza en Montreal (Digital Work Over Photography. 2012)
L'esprit de la danse à Montréal / The Spirit of the Dance in Montreal

(Digital Work Over Photography. By Gustavo Thomas © 2012. All Rights Reserved)



Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas.If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.