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Rivka Licklider
We have also included alternate variations of plucks. Single plucks, arpeggiated plucks, bass plucks, lead plucks, clean and distorted plucks. We also have your transitions covered. Break downs, build ups, drum fills, impacts, up lifters, and down lifters. What about leads, right? The choices are as long as the isle at a candy shop. Melbourne leads, dirty and gritty leads, intro leads, drop leads. From fat bass to pads and chords.
The additional sounds give you even more ways to control your sound and make it your own. Different styles of open and closed high hats, muffled kicks, high kicks, deep kicks, hard-hitting snares, realistic snares, electro snares, cliff diving impacts, flybys, whirlwind air, from the ground up builds and short synth lines. Single note stabs and half time notes that you can layer or design your pattern.
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While the tire change in Formula 1 is a precisely choreographed performance - a highlight in every car race - we only know very little about what is happening at the pit stop before the arrival of the race car.
For ROTES VELO, choreographer Exequiel Barreras made this period visible. Four dancers from different nations form the team of mechanics that is supporting the driver who - however - will never appear. Those four know only too well what this means. Their love for fast cars could be fatal. The facade starts to crumble and vulnerable beings appear behind the helmet visors.
Choreographer Exequiel Barreras is a fan of Formula 1 driver Ayrton Senna who was killed in an accident during the Grand Prix of San Marino in 1994, while Michael Schumacher won the race. Also the four mechanics in the pit lane - in one cast also three men and a woman - are exposed to this tension between ecstasy and mortal agony and they are giving deep insights into their souls that are burning with will to win and the frenzy for speed.
(...) a bewildered choir of men that makes the minimal and hard-rock dance sequences seem even more powerful and tougher, and the duet with Bach arias even more delicate and more vulnerable: in a floating state between soul and machine.
A couple of years ago I saw Broadway Melody of 1936 on TCM - Turner Classic Movies. I didn't remember having seen it before, even though I have always been a fan of Busby Berkeley-style productions like this.
There was a dancer named Nick Long Jr. in the film I had never seen or heard of before. I did a search on the web, but I couldn't find very much on him. He did two movies in Hollywood at the same time, the other being The King of Burlesque. You couldn't miss Nick in Broadway Melody, he had two long dance sequences with June Knight. One was I Got a Feeling You're Fooling and the other was Broadway Rhythm. Nick was a lyrical partner in the style of Fred Astaire, but he was best known as an aerobatic dancer who did stunts like leaping over seven women or flying off the stage in breathtaking jumps. He was known as the inventor of "Furniture Dancing", which was later imitated by Astaire and Gene Kelly. After I saw him I wondered what else he had done and why I had never heard of him before. He and Astaire had physical similarities; both were thin and lithe and Astaire had runtish facial features like Nick. Compared to co-stars like Robert Stack neither Astaire were good-looking. Both Nick and Fred had high squeaky voices. Despite these drawbacks, donning a top coat and tales did amazing things for both dancers. Fred Astaire and his sister Adele had been a very successful team on Broadway before he headed to Hollywood. Nick would follow the same path.
So why did Astaire go on to be a huge Hollywood star and Nick Long Jr. virtually vanish from dance history and the movies? I think one answer was Astaire had a great choreographer, Hermes Pan, who knew how to make Astaire and Ginger Rogers look great on stage. Nick did his own choreography, which was a mistake, since it didn't push Nick to dance beyond his own physical limitations.
Pan was the creator of the effortless, sophisticated and romantic routines that made Fred and Ginger famous. He was a creative genius and Astaire called him his "ideas man". Pan was a dancer, too, and he was Astaire's rehearsal partner and Ginger's stand-in. Like Nick Hermes Pan spent a large part of his youth on the streets of New York and launched his career there. Also, like Nick Pan never married and it was well known in the movie industry that Pan was gay. He was very religious and kept his sexuality totally concealed. Fred Astaire was married twice and had kids, but Gore Vidal claims to have had an affair with him. Perhaps this explains the special bond between him and Pan. Nick never had a Hermes Pan to help him create an on-stage persona, perfect his technique and grow as an artist. Pan was a gentle, kind and patient man who was well-liked by everyone. He was loyal to his friends. Unlike an talent agent who was only in it for the money and would disappear when his fees dried up, Pan stuck with you through good and bad times. Like the best of coaches he was happiest when a dancer perfected the routines he created and then rehearsed them in. Sometimes, like with Astaire, he had a true partnership of give and take during the creative process.
To return to Nick Long, Jr. - I began my hunt for him in 2012 - I searched online, but there wasn't much to be found. I found his birth date and his death in 1949 in a car accident on the way back from a performance on the IMDB. There were a few pictures and a bunch of references to his work with Danny Kaye in the 30's in New York and London.
I decided to use Ancestry.com to try and construct a timeline of his life and work. This timeline has a ton of stuff on it that I found. The research was tedious, but almost like a treasure hunt for me. I would find references to Nick's life hidden all over the web in reviews, articles and ads for his performances. I also used the huge database of Variety on my.heritage.com. Once I got his tree started I was able to find his parents and I added as much information as I could find on them, too. His mom and dad, Nick Long Sr. and Idalene Cotton, were both actors born in San Francisco. Nick Sr.'s parents were Italian immigrants, they ran a store in San Francisco. Nick Sr. was born in 1855 and Idalene was born 19 years later in 1874. I started with basic stuff on them and then filled out their ancestry profiles with as many dates of performances I could find. I learned a lot about their whole family through this process. As I found more and more about them their lives just opened up before me. The ancient Egyptians said when you spoke the names of the dead they came to life - that's how I felt as I met Nick and the rest of the Cotton-Longs in my research - I was bringing them back to life.
I had no idea when I started my search that I would end up learning so much. Each event or fact I find leads to another discovery. I would have to admit it has become something of an obsession for me. I start in one direction and then land somewhere entirely different and unexpected. Ultimately it ends in a sad and lonely tragedy.
Idalene's dad was the famous minstrel performer and show producer, Ben Cotton (you can see him on the right), who toured all over the USA and Europe from the middle of 1800's until his death in 1908. Hewas a member of the Cotton and Cooley minstrel act with touring the USA and Europe. He died after a long illness in his home on 146th Street in New York, Idalene and Nick Sr. were with him. Virtually the entire Cotton family was involved in minstrels at one time or another. Ben had two wives. There is a mystery about the first one. There is no record of the marriage or a divorce. His second wife, Ellen Francis, called "Nellie" was a dancer. The minstrel show, or minstrelsy, was an American form of entertainment developed in the 19th century. It was a form of entertainment that required payment to attend and involved comic acts, music and dancing performed by white people wearing black-face make-up. Ben and his minstrel troops of actors traveled the world. They became a global sensation. However, he was not a good businessman. He made and lost a fortune in the minstrel business. He traveled at least twice to Europe and may have brought both of his kids. Ben Cotton was part owner of the famous Alcazar Theater in San Francisco and at that time he was worth $10,000, which was a lot of money in 19th century America. Ben tried to escape his success as a minstrel playing other parts, but the public would not accept him as anything else and he had to return to black-face time and again in his long career. His wife - Idalene's mother - died in 1894 in a home for incurables.
Idalene toured with her dad and was famous in her own right. He brought her and her brother, Ben Jr., into the family act as soon as they were able to perform on stage. Idalene never really had a life outside the stage. She met her husband in San Francisco, Nick Long, Sr. was a player at her dad's Alcazar Theater. There was a big difference in their ages.
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