Queens of Delaware

Queens of Delaware
Presented by
Tracey A & Family Productions
April 26th 2019
@ The Wilmington Drama doors open at 7 pm show starts at 8 pm till 11pm.

A host of phenomenal Queens are based out of Delaware will be preforming on one just, it’s A one night only affair. It’s will be a show no one should miss. Hosted by Anthony A. The Queens are Tracey A, Laydi Legz, Tracey Raheem, Ms Millie, Jaz “The Voice Jordon, An Letreece and Charlii Bluu. This is a line up of extreme talent all on one stage. The Queens Band members Brittney Nicole, Tina Woo, Darrly Brown and Andre Webster, these band members have preformed on tour with major signed artist. So they are ready to play and play from here to the moon. This show will sky rocket 🚀. Tickets are $25. & more at the door the night of the show. So get your tickets now.

Christina Dianna : Creative Energy

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As a soft-spoken yet quirky Philadelphia-native, Christina Dianna likes her pieces to speak their own volume. The core of her work is the reflections, depth, and high contrasts she creates. Creating life and dimension is what drives her creative energy.
Producing bright highlights and deep shadows allows her work to take on a slightly animated vibe. The contrast of style within each piece is something unique to her work. The conflict between real and imitative, light and dark, contrasting colors and tones also are a core component of her pieces.
Christina Dianna favors the control she finds when using pencil, however prefers not to limit herself to one medium, style or technique. Her passion comes from the act of creating, and equally from the finished product of what she’s creating, allowing her to venture into various artistic outlets while perfecting her current craft.
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Buy tickets to my next show: https://conceptionarts.com/artist/Rrj6y
 

Woody Harrelson gives up smoking pot after ’30 solid years’

NEW YORK (AP) – Woody Harrelson has given up marijuana after decades of what he calls partying too hard.

The actor is one of Hollywood’s most well-known marijuana enthusiasts. Harrelson tells Vulture that he hasn’t smoked pot in nearly a year.
He cites “30 solid years” of partying for his decision to quit. He also says he felt like the drug was “keeping me from being emotionally available.” Still, he has nothing bad to say about marijuana, which he calls “a great drug.”

The 55-year-old says he still drinks alcohol in moderation.
Harrelson was arrested in 1996 for planting hemp seeds in Kentucky in order to challenge a state law. Hemp is a relative of marijuana, but has a lower concentration of THC, the substance that makes pot smokers high.

Galleries: The deep Philly talent pool takes over the season

If any art trend stands out this spring, it is that the city’s commercial galleries and college and university galleries (the Rosenwald-Wolf Gallery at the University of the Arts, the Galleries at Moore College of Art and Design, and the Rowan University Art Gallery, for starters) are becoming increasingly aware of – and dipping into – the quirky and remarkably diverse talent pool in Philadelphia. Here are some examples of exhibits coming up.
Anne Minich: Boat Series (Feb. 15-April 16, Alumni Gallery, Pennsylvania Academy of the Fine Arts). A survey of the Philadelphia artist’s mixed-media paintings on wood, with a boat shape as a solitary central image, running concurrently with “The Truth of Being Both/And,” her exhibition of drawings and painted constructions exploring human duality, in the museum’s Richard C. von Hess Foundation Works on Paper Gallery. (215-972-7600, pafa.org)
Ellen Brooks: Screens (Feb. 25-April 1, Lord Ludd). The New York artist’s first solo show in Philadelphia, of photographs from her Screen series of 1986-94, highlights society’s increasing acceptance of artificial nature. (814-808-5833, lordludd.com)
After Now (Through Feb. 28, Rosenwald-Wolf Gallery, University of the Arts). New works by six contemporary artists based in Philadelphia: Gideon Barnett, Michael Ciervo, Micah Danges, Samuel Hindolo, Peter Allen Hoffmann, and Kelsey Halliday Johnson. (215-717-6480, uarts.edu/about/rosenwald-wolf-gallery)
Jay Walker: Archetype (Through March 4, Rowan University Art Gallery). Clothed, but empty, human forms made with colored tape and stencils on wood panels, from the Philadelphia artist’s Theotokos (Greek for “mother of god”) series. (856-256-4520, rowan.edu/artgallery)
Former Forever (March 4-April 8, James Oliver Gallery). Colorful, graphic works by Ryan Beck, Miriam Singer, and Jason Andrew Turner. (215-923-1242, jamesolivergallery.com)
Richard Hricko: Urban Growth (March 4-April 14, C.R. Ettinger Studio). Photogravures depicting nature in transformation, by the program head of the Tyler School of Art’s printmaking department. (610-585-4084, crettinger.com)
RAIR: Filthy Rich – Projects Made Possible by the Waste Stream (Through March 11, the Galleries at Moore College of Art and Design). Sculptural objects, photography, and videos by Philadelphia artists, facilitated by RAIR, a Philadelphia nonprofit that interrupts the waste stream to promote sustainable practices in art and design. (215-965-4027, thegalleriesatmoore.org)
Alexis Petroff: Floating Drawings (Through March 12, List Gallery, Swarthmore College). Linear wall pieces inspired by junk mail, newsprint, personal photographs, and the art of the Venezuelan geometric abstractionist Gego (Gertrud Louise Goldschmidt). (610-733-9771, swarthmore.edu/list-gallery)
Painters Sculpting/Sculptors Painting (Through March 25, Fleisher/Ollman Gallery). Works that blur the line between painting and sculpture, by Nadine Beauharnois, Matt Jacobs, Dona Nelson, and Marc Zajack. (215-545-7562, fleisher-ollmangallery.com)
Paper Work (Through March 25, Snyderman-Works Galleries). A first-time curatorial effort by Philadelphia artist Alex Conner, featuring works on paper by 17 Philadelphia artists, among them Stuart M. Buehler, Anne Canfield, Mariel Cappana, Terri Saulin Frock, Adam Lovitz, Lucia Thomé, and Ashley Wick. (215-238-9576, snyderman-works.com)
Edward Eberle Retrospective (March 31-May 28, Clay Studio). Porcelain vessels and deconstructed sculptures from the mid-1980s to the present, by the Pittsburgh ceramic artist known for his dreamlike imagery. (215-925-3453, theclaystudio.org)
Nadia Hironaka and Matthew Suib: Writing History with Lightning (April 7-May 13, Locks Gallery). The Philadelphia artist team’s latest video installation projects, including Writing History with Lightning, a single-screen work composed of altered and looped scenes from D.W. Griffith’s 1915 film The Birth of a Nation projected onto the interior of Baltimore’s abandoned Parkway Theatre. (215-629-1000, locksgallery.com)
Willie Cole: On Site (April 8-July 2, Arthur Ross Gallery, University of Pennsylvania). Artworks, a video, and a massive chandelier fashioned from recycled water bottles by the New Jersey artist. (215-898-1479, arthurrossgallery.org)
Andy Warhol: The Pop Image Subverted (Through April 23, Atrium Gallery, Marshall Fine Arts Center, Haverford College). Fifteen silk-screen prints from Haverford College’s collection, including works from Warhol’s Flowers and Marilyn series, as well as photographs and related ephemera. (610-896-1267, haverford.edu)
Lynne Clibanoff/Amze Emmons (April 27-Aug. 27, Gershman Y). Paintings of mysterious room interiors inside boxes by the former, magic realist-style paintings inspired by architectural illustration, cartoon language, and how-to manuals by the latter. (215-545-4400, gershmany.org)

Philadelphia Orchestra presents Bluebeard, swans and Stepford Wives

“The curtain of my eyelids is raised … Old is this castle, Old is the tale enclosed by its walls. Observe carefully.”

What is this? Even those familiar with Bartok’s one-act opera Bluebeard’s Castle don’t often hear the ominous but often-cut spoken prologue employed Thursday at the Philadelphia Orchestra performance at Verizon Hall.
Intoned in heavily amplified Hungarian by the evening’s bass soloist, John Relyea, the prologue establishes that this 1911 portrayal of Bluebeard is not some bloody horror show, but a French Symbolist parable — as the legendary lady killer attempts to “go straight” with his final wife, Judith, but fails as she demands to see what’s behind every door in his castle.

The gradual psychological submission should feel like what Fifty Shades of Grey pretends to be. But this enterprising program with the opera (in concert form), paired with excerpts from Tchaikovsky’s Swan Lake, didn’t entirely come together, which meant Bartok was more episodic than entrancing. Yet the meticulously fashioned orchestration, more like Strauss than mature Bartok, makes the opera, if nothing else, a dazzling showpiece, especially with music director Yannick Nézet-Séguin on hand.
The sinewy opening bass lines felt particularly reptilian. And as different floods of sound issued forth when each door opened, the vast vista of Bluebeard’s realm had the orchestra in full cry (as only it can do) with the Fred J. Cooper Memorial Organ adding an inner electric current.
The opera’s more muted portrayal of Bluebeard’s lake of tears touched on the infinite sorrow that created it. Often, Nézet-Séguin uncovered odd little quasi-medieval musical references, adding to the sense that time melts together in this world. The piece is a bottomless pit of orchestral possibilities.
But it’s also an opera whose narrative depends on its two characters. Mezzo-soprano Michelle DeYoung and bass Relyea were positioned on each side of Nézet-Séguin, which felt right in an opera when the two characters often seemed to be calling to each other from a distance.
The orchestration is likely to cover the singers no matter where they’re positioned, but DeYoung was fully audible, at least from my first-tier seat, only in moments with the thinnest accompaniment. Her character’s emotional journey seemed to be portrayed with only one, all-purpose vocal color.
In purely vocal terms, Relyea delivered one of the strongest performances, his language projection having an authority that greatly suited his character. But when Bluebeard starts rhapsodizing about his past wives (who aren’t murdered but who become Stepford Wives), his vocal manner doesn’t follow the orchestra into this new emotional realm.
And Swan Lake? Though the excerpts touched on the story’s dark side, most music chosen for this concert — which is headed Tuesday for Carnegie Hall — were tuneful sections written for the sake of pure dance. Nézet-Séguin allowed himself moments of particular extravagance. After all, it’s ballet.
The program is to be repeated at 8 p.m. Saturday at the Kimmel Center. Information: 215-893-1999 or www.philorch.org.
 
Read more by David Patrick Stearns