Tag Archives: Taylor Mac

TAYLOR MAC IN SAN FRANCISCO

Barlo Perry: “What was the impetus behind A 24-DECADE HISTORY OF POPULAR MUSIC?

Taylor Mac: “It was [a 1986, San Francisco] AIDS walk. I had never seen an out homosexual before, and so many at the same time.  I discovered queer history, queer agency, queer pride while the community was being torn apart because of the epidemic and institutionalized homophobia.  To see that community building itself and surviving as it was weakening and disintegrating was an interesting dichotomy.  And years later, I thought, I want to make a show that’s a metaphor, a representation of that.”*

This week Taylor Mac returns to San Francisco, where everything started.

TAYLOR MAC—A 24-DECADE HISTORY OF POPULAR MUSIC

CHAPTER I (1776–1836), Friday, September 15, at 5 pm.

CHAPTER II (1836–1896), Sunday, September 17, at 2 pm.

CHAPTER III (1896–1956), Friday, September 22, at 5 pm.

CHAPTER IV (1956–2016), Sunday, September 24, at 2 pm.

CURRAN THEATER, 445 Geary Street, San Francisco.

sfcurran.com/shows/taylor-mac/#calendar

* from “A Time to Be Born: Taylor Mac in Conversation with Barlo Perry,” PARIS LA 15 (Spring 2017): 78–85.

Taylor Mac, with musical director/pianist Matt Ray in top photo. Photographs by Teddy Wolff.

Performer Taylor Mac and music director Matt Ray.

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TAYLOR MAC AND KRISTY EDMUNDS

Over the last few years, a consortium of institutions and patrons from across the United States have come together to ensure the production of Taylor Mac’s ongoing, international sensation A 24-Decade History of Popular Music. In Los Angeles, one of Mac’s most committed—and eloquent—supporters is Kristy Edmunds, the executive and artistic director of the Center for the Art of Performance at UCLA (CAP UCLA).

On Wednesday, May 24, in celebration of Mac’s Edward M. Kennedy Prize for Drama—and his upcoming CAP UCLA engagement (four nights in March 2018)—Edmunds welcomes the performance artist to the Theatre at Ace Hotel.

AN EVENING WITH TAYLOR MAC, introduction by Kristy Edmunds and remarks by Taylor Mac at 8 pm. Reception at 9.

THEATRE AT ACE HOTEL, 933 South Broadway, downtown Los Angeles.

cap.ucla.edu/calendar/details/taylor_mac_ch4

Image credit: CAP UCLA.

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[NEW ISSUE]: PARIS LA 15—SPRING 17—MUSIC

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PARISLA 15SPRING 2017—MUSIC

On the cover Ash B., 2016 © Wolfgang Tillmans
Comes with a flexi disc by D.A. Spunt

112-page color
English edition
$20/€18

 

I don’t write music. We never did. Sonic Youth never did. Our writing is sitting around and playing, and reforming it. — Kim Gordon

In America we have this history where we forgive the oppressor and vilify the outsider. — Taylor Mac

I mean, I see the life politic, the life that we live all together as people, is the sum of what people throw into their world. — Wolfgang Tillmans

The last twelve months have seen Wolfgang Tillmans’ return to music after a nearly thirty-year absence, Taylor Mac’s one-time-only 24-hour concert performance, and the first release of Kim Gordon’s music under her own name.

PARISLA 15—an issue devoted to music—brings together conversations with these artists, as well as interviews with Carrie Brownstein (with Kim Gordon), Josh Da Costa and Matt Fishbeck about Solid Rain, Pulitzer Prize-winning Caroline Shaw, art and music entrepreneur Aaron Bandaroff on Know Wave, and Chloé Maratta and Flannery Silva of Odwalla88 (joined by Dean Spunt of No Age).

Issue 15 also features a conversation between LA-based curators Sohrab Mohebbi and Aram Moshayedi, and writer Gaye Theresa Johnson about her first book Spaces of Conflict, Sounds of Solidarity: Music, Race, and Spatial Entitlement in Los Angeles, essays on Lady Tigra and on Black Sabbath’s final tour by Noah LyonYelli Yelli in her own words, a piece by associate editor Evan Moffitt on Berlin and Bowie, an excerpt from The Standard Book of Color by Andrew Berardini, and a report from Standing Rock by Oscar Tuazon.