Let’s start on a bittersweet note and talk about three people whose lives improved Philadelphia’s A&E landscape, and whose deaths have affected everyone they touched. Kathleen P. Field was one of Philly’s original multi-hyphenates. Known first as a couture fashion model in the ’60s, then as an interior designer with her own firm in the disco ’70s, Field made her biggest mark in the ’80s and beyond as a pastel painter whose work wowed critics. Larry Berk was a real character, a successful real-estate lawyer who turned his nightlife expertise into a second business of property ownership and partnerships with the Happy Rooster and Bar Noir, among others. C. Natale Peditto, co-founder of the Open Mouth poetry series in the early ’80s, was one of Philly’s most original live jazz poets. His work appeared in the Painted Bride Quarterly and in various publications of Heat Press, the imprint he started once he moved out to Los Angeles. These three made this city a better place.
Blurr is one of those odd, questionable-for-no-particular-reason nightclubs that pop up seemingly out of nowhere as a hangout for no one you’ve ever known. Still, this Old City spot (formerly the Comedy Factory Outlet) has taken the brunt of the shuttered Shampoo’s DJ nights and club concepts since opening. This Thursday, Blurr’s towering two floors play host to a day of filming on Franny, the flick starring Richard Gere and Dakota Fanning. Get to know it.
Having a microfestival is like having a microbrew: The more you take in, the drunker you get. From Nov. 15 to 17, Mascher Space Co-op (at 155 Cecil B. Moore) presents a Microfestival of Stubborn Occasions, with its membership unveiling dance and movement installations throughout the property. “Our artistic needs are stubborn, and spill out in a way in which it doesn’t serve to divide them equally like a tray of brownies,” says performer Christina Gesualdi, of the fest’s messy approach to staging. “There is a deep need for presenters in our city and all over to let go of models of efficiency and commodity and instead to take a risk — to put the art’s and the artists’ needs first, to embrace the idea that the ‘choreography’ of presenting an event or a festival of events is sometimes messy and sometimes inefficient. I think we’re asking: What if choreography exists within and between occasions and performances, instead of living solely on the body?” For more on the Microfestival see Agenda starting on p. 36.
More risky business at citypaper.net/nakedcity.
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