The most comprehensive annual celebration of the performing arts around the globe, encompassing a convergence of 14major performing arts industry forums and public festivals, is about to take place once again in New York City with the 2019 edition of JanArtsNYC. With the broad menu of cultural events including American Realness (Jan. 4-13; americanrelaness.com), Chamber Music of America Conference (Jan. 17-20l chamber-music.org), Drama League DirectorFest (Jan. 28; directorfest.org), National Sawdust’s FERUS Festival (Jan. 4-8; nationalsawdust.org/festivals-and-series/ferus), globalFEST (Jan. 6; globalfest.org), ISPA Congress (Jan. 8-10; ispa.org), Jazz Congress (Jan. 7-8; jazzcongress.org), NYC Winter Jazzfest (Jan. 4-12; winterjazzfest.com), The Joyce Theater’s American Dance Platform (Jan. 3-7; joyce.org), Performance Space New York (Jan. 5-31; performancespacenewyork.org), PROTOTYPE: Opera/Theatre/Now (Jan. 5-13; prototypefestival.org), and The Public Theater’s Under the Radar Festival (Jan. 3-13; undertheradarfestival.com), perhaps the most important of these will be the 62ndannual Association of Performing Arts Professionals (APAP) Conference. Taking place at the New York Hilton Midtown Hotel from January 4-8, the APAP Conference in 2019 will host more than 3,600 performing arts professionals (including persons who represent leading performing arts centers, municipal and university performing arts facilities, culturally specific organizations, foreign governments, artist agencies, managers, touring companies, consultants and self-represented artists) as they experience some 1,000 performance showcases, network at a 370-booth EXPO Hall, and attend professional development and plenary sessions addressing issues impacting their industry.
January is quite possibly the busiest of months for the performing arts in New York City – a place already busier than just about anywhere with options for audiences of music, dance, theater and related disciplines – and so it is fitting that the annual conclave where arts presenters from around the US gather to meet, to see live acts, and discuss the issues surrounding their industry is at the Association of Performing Arts Professionals [APAP] Conference, which took place from January 12-16. Timed to take place in a partnership that includes 11 performing arts industry events throughout the month, under the mantle JanArtsNYC, APAP has as part of its history of programming incubated such events as the Public Theater’s Under the Radar Festival and globalFEST, and thus has occupied a leadership role in the field. As usual, the NY Hilton Hotel was the hub of activity for 2018, with various showcases and other events timed to coincide with the conference going on all over the city.
What’s new for APAP as the 2018 annual conference approaches starts with the name of the organization, which as of September has changed (and meanwhile in a way stayed the same). While the acronym APAP remains, it now stands for Association of Performing Arts Professionals – whereas previously it denoted Association of Performing Arts Presenters – and the switch reflects a desire on the part of membership, consequent to a vote held at the 2017 conference last January, to convey an expansion of the mission of APAP as well as a new initiative to include more arts professionals in its membership. This has been the third name change in the 60-plus year history of APAP – it began as the Association of College and University Concert Managers (ACUCM) in 1957, became the Association of College, University and Community Arts Administrators (ACUCAA) in 1973, and since 1988 has been known as the Association of Performing Arts Presenters.
For 2016 the APAP (Association of Performing Arts Presenters) Conference offered a broad array of performers and entertainment to behold, not only for those members of the organization looking to fill out their calendars for the upcoming year – at arts facilities, festivals, colleges and universities and the like – but for aficionados of the performing arts in general. As the world’s largest networking forum and marketplace for performing arts professionals, APAP features more than 3,600 presenters, artists, managers, agents and emerging arts leaders from all 50 US states and more than 30 countries convening in one place at one time to both celebrate the disciplines they have dedicated their professional lives to, as well as discuss in many forums and panels the issues which impact the production and presentation of culture, both in the US and globally. While the Conference program unfolded over January 15-19 at the New York Hilton Hotel, the showcase performances which energize and thrill both members and general audiences alike took place over a longer period, from January 12-21 (with some showcasing performers in residencies extending for a week or more beyond), and could be seen at a great number of sites around New York in addition to the Hilton.
While so many aspects of Scottish heritage have influenced North American culture that it’s easy to take them for granted, it’s always a grand occasion to celebrate them during Tartan Week, which will be unfolding from April 6-11. The expanding slate of events, featuring daily concerts, parties, and of course capped off by the 17th Annual Tartan Day Parade down Sixth Avenue on Saturday, April 11th, was announced at St. Andrews restaurant, at 140 West 46 Street – a site of a number of the events in store.
One of the inevitabilities of getting older is that it gets a lot harder to keep up with today’s music. Part of the reason for this is that the pop music charts historically have been determined by the tastes of younger listeners and that is by definition going to lead to a disconnect with an older demographic.
In 2012 the surviving Beach Boys put aside their longstanding differences to tour the country in honor of the 50th anniversary of their first Capitol singles, “Surfin’ Safari” and “Surfer Girl.” The band had recorded those tunes a year earlier for a small label, Candix.
After hearing “The Most Wonderful Time Of The Year” and “The Holiday Season” probably more times than I would care to admit to, it hit me that the only time one can hear Andy Williams on the radio anymore is when FM stations such as “Lite FM” (and nearly every suburban music-playing station) switches to an all-Christmas format in November.
In 1990 a number of rock stars were given a chance to record their favorite Christmas songs for an album that would benefit the Special Olympics called “A Very Special Christmas.” Among the memorable tunes were U2’s brilliant take on the rousing Darlene Love classic, “Christmas (Please Come Home);” Madonna’s tribute to Eartha Kitt on “Santa Baby;” Whitney Houston’s “Do You Hear What I Hear?” and Bob Seger’s “Little Drummer Boy.” Also included was a RUN-D.M.C. original, “Christmas In Hollis.” Two years later a sequel album was released.
The attention that Lou Reed’s death generated surprised me because he was never a big-selling artist, although he was well known particularly around his native New York City. Rolling Stone Magazine put him on its cover last month and its publisher, Jann Wenner, doesn’t do that for just any performer.