Visitors to downtown St. Louis will soon see different names - very old names - identifying downtown streets. Eight streets will receive new street signs featuring the roads' original French names in addition to their current English names.
The signs were unveiled at a city hall event Saturday marking the 250th anniversary of the founding of St. Louis.
The Gaslight Cabaret Festival, two months of cabaret performances at the Gaslight Theater, opens next week with a show by Broadway veteran and St. Louis native Ken Page.
Page got his start at the MUNY more than 40 years ago. After two summers performing at the MUNY, he moved to New York City, where he performed on Broadway in the original casts of “Cats,” “Ain't Misbehavin',” “The Wiz”,” Ain't Nothin' But The Blues,” and “Guys & Dolls.” Fans of “The Nightmare Before Christmas” may recognize him as the voice of Mr. Oogie Boogie.
The Pulitzer Foundation for the Arts opened a new exhibit Friday, February 14 exploring the evolving life of art. “Art of Its Own Making” features the work of more than 11 artists and is on display now until August 20.
“This is a show that looks at the interplay between viewers, artworks and the environment – how does one affect the other?” Pulitzer director Kristina Van Dyke said.
For example, Edith Dekyndt’s work, “Ground Control” is a big black ball filled with helium that reacts to viewers. The more people in the room with it, the higher the ball rises.
In celebration of Black History Month, Christ Church Cathedral is holding a concert Sunday honoring Rosa Parks. The concert will feature arrangements of spirituals and “Hymn for Rosa,” a work written by Christ Church Cathedral organist and choirmaster William “Pat” Partridge after Rosa Parks died.
According to Partridge, her death reminded him of his childhood in segregated Virginia and her perseverance to end segregation.
Jazz Unlimited on February 16 is “Live from the Village Vanguard-Part 2.” We continue our survey of New York jazz clubs with the first of two parts on the Village Vanguard. Max Gordon started the club in 1935 and ran it until his death in 1989. Since then, his widow Lorraine continues to run it. It remains the way it was when Max died. The featured artists for this show, the Junior Mance Trio, the Joe Lovano Quartet, Chucho Valdes and his band, the John Coltrane Quartet, the Bobby Hutcherson Quartet, the Vanguard Jazz Orchestra, Dizzy Gillespie, the Bill Evans Trio, Art Pepper, the Tha
Jill McGuire, Regional Arts Commission executive director (left), and communications specialist Kelly McMahon examine some of the 55 inch tall, plastic birthday cakes that will become public art as St. Louis celebrates its 250th birthday.
NOTE: Because of the unloving weather on Valentine's Day, the Burning Love Festival will be held from 6-9 p.m. Feb. 18.The event will still include vendors, entertainment and the Burnin’ Love 25 foot Heart of Fire.
People who attend the Tivoli Theatre, the majestic edifice that has graced the University City Loop since 1924, expect certain things. They expect nostalgic surroundings. They expect to see movies with purpose. They expect to be greeted by John Thompson.
For the past 35 years, Mr. Thompson did not disappoint. He died Wednesday, Feb. 12, 2014. He was 74.
“It will be very sad the first time we walk through the doors (of the Tivoli) and John’s not there,” said Cliff Froehlich, executive director of Cinema St. Louis. “His absence will be very seriously felt.”
Richard Newman of River Styx brings his poetic touch to St. Louis Public Radio and the Beacon. He regularly selects a poem to appear on this site. It's a free glimpse into the vibrant poetry life in this area. Today: Gary Fincke | “The Drive-Thru Strip Club”
Here’s a slice of contemporary American life. Would you like fries with that?
Nicole Eisenman, Sloppy Bar Room Kiss, 2011. Oil on canvas, 39 x 48 inches. Collection of Cathy and Jonathan Miller. Courtesy the artist and Susanne Vielmetter Los Angeles Projects. Photo: Robert Wedemeyer
Those who say they do not understand contemporary art or who question the talent needed to create the art they encounter need to see the work of Nicole Eisenman. The survey of her last 20 years of painting, sculpture, print and drawing at the Contemporary Art Museum (CAM) is powerful enough to singlehandedly answer these sort of rumbles. She clearly knows how to draw, how to paint and has something to say.