Teac

18 Apr 19
MinnPost
During a performance preview last week at Northrop, Los Angeles-based choreographer David Roussève gave a shout-out to Northrop’s importance as an academic presenter of the arts. He was here with his company, REALITY, thanks to Northrop and its dance season, a fixture on the Twin Cities arts scene since 1970. Without the Northrop Dance Season, we would probably never see the Joffrey, Alvin Ailey, American Ballet Theatre and other national dance companies, and for sure we wouldn’t see the great companies from around the world that make the long journey to dance on our stage. Northrop announced its 2019-20 season on Wednesday, and it’s as expansive and exciting as we’ve come to expect. Three ballets – all with live music – will please the ballet-loving crowd. After a hit performance last November with the SPCO, Pittsburgh Ballet Theatre will return with its new ballet, “The Great Gatsby.” Ballet West will bring George Balanchine’s beloved “Jewels.” And the State Ballet of Georgia will make its only U.S. appearance at Northrop, dancing Balanchine and a work set to Georgian folk tunes. The rest of the season features legends of modern dance and important young companies that are putting their own spin on artistic, national and cultural traditions. The Paul Taylor Dance Company will celebrate the legacy of its founder, who died in 2018. The venerable Martha Graham Dance Company will perform an evening of works by and about women. New York City’s Dorrance Dance, known for “blasting open our notions of tap,” will be here as part of the Twin Cities Tap Festival. Ireland’s Teac Damsa will bring its dark reimagining of “Swan Lake” to the McGuire Theater in partnership with the Walker. A second Northrop/Walker collaboration will feature in-demand choreographer Kyle Abraham and his company A.I.M. They’ve danced at the Walker, but this will be their Northrop debut. [cms_ad:x100]This will also be the first time at Northrop for New Zealand’s Black Grace, a dance troupe of Maori and Pacific Islander men. Their program will include body percussion, seated dancing and live drumming. And we’re thrilled that Mark Morris’ “Pepperland” will finally touch down in the Twin Cities. Created for the 50th anniversary of the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band,” this witty evening-length work features new music and new interpretations of Beatles songs by Ethan Iverson (formerly of The Bad Plus) performed by a jazz ensemble, with Iverson on keyboards. [image_credit]Photo by Palma Kolansky[/image_credit][image_caption]Branford Marsalis[/image_caption]Northrop also announced the second year of a music series spotlighting its recently restored historic Aeolian-Skinner pipe organ. The Minnesota Orchestra will return, this time with guest soloist Cameron Carpenter. Duo organists Elizabeth and Raymond Chenault will make “organ music for four hands, four feet.” And saxophonist Branford Marsalis and pipe organist Jean-Willy Kunz will play a crossover concert. Series packages and group tickets are on sale now. Single tickets go on sale June 10. Northrop’s 2019-20 season is the last to be programmed by Christine Tschida, who joined Northrop as director in 2012. In June 2018, she stepped sideways into a new position as artistic director of the dance series and Kari Schloner became Northrop’s new director. Earlier this month, Kristen Brogdon was named Northrop’s new director of programming. She’ll start June 24, and Tschida will officially step down and on with the rest of her life. Her plans to retire have already fizzled as new projects have presented themselves. We spoke with Tschida on Wednesday afternoon. This interview has been edited and condensed. [image_caption]Christine Tschida[/image_caption]MinnPost: The new season looks great. You’re going out with a bang. Christine Tschida: The Northrop series has sustained over many different leaders. It really is the dance that takes the focus. Those of us behind the curtain are just moving the buttons. There’s such extraordinary dance throughout the world. We just see a tiny portion in the performances we do at Northrop. MP: How would you describe the season in a nutshell? CT: A lot of favorites people will see again, like Martha Graham and Paul Taylor, and Ballanchine’s “Jewels.” New favorites like Pittsburgh Ballet. And there are places where we’re pushing the envelope. Kyle Abraham. Teac Damsa. Their “Swan Lake” is totally new and different. Black Grace is new to our audience. You always want to have some kind of blend, a mix with enough familiar elements so audiences go, “Oh, I know I’m going to like that,” and enough challenging and different elements they feel they’re getting something new. You’re looking for that magic elixir. MP: Do you feel you’ve been successful at pushing the envelope during your time here? CT: Somewhat, yes. We’ve introduced new artists many audience members say they really liked. “Oh, that was so interesting!” “I’ve never seen anything like that before!” Those are things you want to hear. I feel that’s part of our job at the university. I want to show you things you’ve never seen before. MP: What are your most indelible memories from your time here, for better or worse? CT: The most difficult and challenging memories are the events we had to cancel. That is every programmer’s nightmare. We suffered our share of those, for very different reasons. Back in 2015-16, I desperately wanted to present Le Grands Ballets Canadiens in a wonderful full-length ballet called “Léonce and Léna.” We had booked it and advertised it. Then one of the other presenters in the U.S. pulled out. Without that support around the engagement, Le Grands Ballets couldn’t come to the U.S. It’s one of the most difficult things about continuing to do ballet here. So few people are presenting ballet at the scale and quality we want at the Northrop stage. We lost Bereishit from Korea [in 2016-17] due to not getting visas in time. And last April [2018], Keigwin & Company had been in residence for a week for their Bernstein program. Then we had last year’s April blizzard and snowstorm, and that was canceled. There are other happy memories, yet I wish more people had been there to see them. Seán Curran Company did a beautiful piece with musicians from the Kyrgyz Republic. The house was somewhat disappointing. I was happy to introduce [choreographer] Aszure Barton to Twin Cities audiences. She did a piece called “Awáa” in 2016. I wish more people could have seen it. And Crystal Pite’s “Betroffenheit.” I’m thrilled to have presented that. It’s important and wonderful work. But not everyone came along with us. MP: Have visa concerns shaped your programming? CT: It’s more about what’s available to tour, because companies don’t want to bother touring to the U.S. It’s become so prohibitively expensive. They don’t have any guarantees they’ll get the visas or get them on time. For an international company, the challenge of coming here is so formidable that many just say, “No, let’s not take that on.” MP: Is there anyone you really wanted to bring here but couldn’t, for whatever reason? CT: A whole list! One I’ve tried for three to four years running, but it never materialized, is Taiwanese artist Huang-Yi, who has created a dance with a robot. “Huang-Yi and Kuka.” The minute we see that robot on stage, it becomes human to us. I thought – this would be so interesting for the robotics lab! But the robot is really heavy. It has to travel in a particular kind of truck. And there are the visas from Taiwan. I could never get it to work. I’ve wanted to bring the Nederlands Dance Theatre back. And a production that choreographer Sidi Larbi did called “Sutra,” with Tibetan monks. MP: What else would you like people to know? CT: We have an incredible privilege to have a dance season like this in the Twin Cities. I’m not talking about my curation; I’m talking about the artists who come to the Twin Cities to dance on the Northrop stage. I know it’s sometimes hard to schedule, but don’t miss it! That’s my advice. The ballets are our huge sellers. Contemporary dance continues to strive to get a larger audience. If you see a movie you don’t like, you would never say, “I’m never going to another movie again!” Or “I’ve read this book, I don’t like it, I’ll never read another book!” But if you see a contemporary dance you don’t like, it’s, “I’m never going again. I just don’t like contemporary dance!” The entire field of contemporary dance is condemned. We don’t do that with any other art form. Yet we act this way about dance. There’s a huge world of dance out there. Don’t make a decision based on one thing that didn’t please you entirely.
18 Apr 19
Books by Hugh Ashton

Our local paper, the Lichfield Mercury, just ran this story on me. Very pleased to see this. By ANDY KERR News Reporter A LICHFIELD author who pens Sherlock Holmes stories is pursuing his most challenging case to date – matching the number of official adventures starring the fictional detective. Hugh Ashton, who works with a digital […]

18 Apr 19
Twin Cities
Northrop’s 2019-20 season, announced Wednesday, will feature 10 visiting dance companies, partnerships with Twin Cities Tap Festival and the Walker Art Center, and a spotlight on the University of Minnesota building’s restored pipe organ. The Northrop’s signature Dance Series has performances ranging from “The Great Gatsby” to George Balanchine’s “Jewels.” In the two concerts in the Music Series, jazz great Branford Marsalis performs with organist Jean-Willy Kunz on the pipe organ and the Minnesota Orchestra with “revolutionary” organist Cameron Carpenter, according to a Northrop news release. The Chenault Duo will do “A Holiday Program of Organ Duets” in early December. Here are highlights of the Dance Series: “The Great Gatsby” (Sept. 28) — Pittsburgh Ballet Theatre returns with its latest creation, a new ballet based on F. Scott Fitzgerald’s novel. Featuring a live orchestra.. “Myelination” (Oct. 19) — Michelle Dorrance and her company of dancers, Dorrance Dance, will perform in the final event of Twin Cities Tap Festival. “Swan Lake/Loch na hEala” (Oct. 24-27) — A contemporary adaptation of “Swan Lake” has Irish mythology meeting modern Ireland. The production at the Walker Art Center from Teaċ Daṁsa features eight dancers, two actors and the trio Slow Moving Clouds playing Irish-Nordic folk music. Black Grace (Nov. 7) — A Northrop debut by this dance company, influenced by its Pacific Island heritage, is described as a fusion of contemporary and traditional movement that includes dance, body percussion and live drumming. “Pepperland” (Jan. 25) — Mark Morris Dance Group presents a celebration of the 50th anniversary of “Sgt. Pepper’s Lonely Hearts Club Band.” “Jewels” (Feb. 22-23) — Ballet West stages George Balanchine’s masterpiece with live orchestra. According to the Northrop, it’s considered the first abstract full-length ballet. Kyle Abraham (Feb. 29) — In-demand choreographer makes his Northrop debut with his company, A.I.M. A co-presentation with the Walker, it incorporates Abraham’s cultural influences: hip-hop, classical cello, piano and the visual arts. Paul Taylor Dance Company (March 21) — Northrop joins other presenters worldwide in a celebration of modern dance icon Paul Taylor, who died in 2018 at the age of 88, leaving behind a legacy of more than 140 works. The Paul Taylor Dance Company will revisit some of the greatest and best-loved of these dances with “The Celebration Tour,” performed by many of the dancers who trained directly with Taylor. Martha Graham Dance Company (April 4) — The oldest and most celebrated modern dance company in America performs “The EVE Project,” which celebrates the 100th anniversary of women’s right to vote. The State Ballet of Georgia (April 29) — In the company’s only U.S. appearance next year, they will perform George Balanchine’s “Concerto Barocco” and “Symphony in C,” as well as “Sagalobeli,” a work to Georgian folk tunes by Yuri Possokhov. SPECIAL EVENTS Northrop will present two special music events in addition to its Music Series. The Pride of Minnesota returns to Northrop for the 58th annual Indoor Marching Band Concert on Nov 23-24. University of Minnesota organist Dean Billmeyer will present a faculty concert featuring varied works to showcase the restored pipe organ on April 21, 2020. TICKETS Series packages and group tickets are on sale. Single tickets go on sale June 10; 612-624-2345 or northrop.umn.edu. [related_articles location=”left” show_article_date=”false” article_type=”automatic-primary-tag”]
17 Apr 19
Vintage Electronics

TEAC A-6300 ( 7″ & 10.5″ ) REEL TO REEL TAPE DECK RECORDER SERVICED & GUARANTEED – Buy – TEAC A-6300 ( 7″ & 10.5″ ) REEL TO REEL TAPE DECK RECORDER SERVICED & GUARANTEED

17 Apr 19
Audiophilepure

Read Here ” Seattle-based indie electronic group Odesza was in heavy rotation during my time with the NR-7CD, and the latter’s reproduction of “Higher Ground,” from Odesza’s A Moment Apart (16/44.1 FLAC, Counter/Tidal), had an immediacy and bite that lent itself to the punctuality that characterizes so much modern electronica, including this. I loved this […]

15 Apr 19
The Contraptionist

Greetings, Today we’re checking out the much adored DM6, a quintuple armature earphone from BGVP. BGVP and I have had a checkered past. Most of their earlier products were wonderful to look at and feel, but fell flat on their face when it came to how they sounded. Uninspired, generic, dull, etc. just to toss […]

15 Apr 19
RTO Insider

Grid operators may have to consider a different way of transmission planning for offshore wind, panelists told the Business Network for Offshore Wind’s 2019 International Partnering Forum. | New York State Offshore Wind Master Plan

15 Apr 19
Electrtonics & Telecommunication

The Global CD and DVD Drive market will reach xxx Million USD in 2019 and CAGR xx% 2019–2024. The report begins from overview of Industry Chain structure, and describes industry environment, then analyses market size and forecast of CD and DVD Drive by product, region and application, in addition, this report introduces market competition situation […]

15 Apr 19
Leo Van Horn TEAC 451w

In this week’s reading, Barton contrasts the differences of the America and Northern Ireland educational systems. He specifically focuses on how history is taught differently between the two countries. America tends to teach history as a story. Starting at a young age, students learn stories about America, and later on these stories are woven into […]

15 Apr 19
Adam’s TEAC 451

This article addresses the question of what kind of history do students in other countries study. The history of the United States is drilled into the heads of American students at a young age and continues throughout their schooling. The reason for this is to emphasize the origin and development of the United States as […]

15 Apr 19
Leo Van Horn TEAC 451w

In this week’s reading, Westheimer and Kahne discuss the different kinds of citizens within a democracy. They address three different kinds of citizens: the personally responsible citizen, the participatory citizen, and the justice-oriented citizen. The authors mainly chose to focus on the participatory citizen and the justice-oriented citizen, and they decided to mostly ignore the […]

15 Apr 19
Nick's Blog

  I found this week’s reading by Barton to be particularly interesting because it’s something I haven’t thought much of. History Education and National Identity in Northern Ireland and the United States: Differing Priorities looks at some of the major differences behind teaching history in the US and Northern Ireland. Like the author, I assumed that most […]

14 Apr 19
TEAC 451 Blog

            This week’s reading came to the conclusion that perhaps focusing on evidence-based study of events and people in history and civics is better than focusing on specific narratives. I agree with that sentiment. In my education the best kind of education I have received is when there is clear, viable, reliable source presented with […]