NYC Arts Round-Up #5: MoMA, Barberini Tapestries, Studio Museum in Harlem

Making Space: Women Artists and Postwar Abstraction

Through August 13, 2017

The Museum of Modern Art

The exhibition Making Space: Women Artists and Postwar Abstraction shines a spotlight on the stunning achievements of women artists between the end of World War II (1945) and the start of the Feminist movement (around 1968). In the postwar era, societal shifts made it possible for larger numbers of women to work professionally as artists, yet their work was often dismissed in the male dominated art world, and few support networks existed for them. Abstraction dominated artistic practice during these years, as many artists working in the aftermath of World War II sought an international language that might transcend national and regional narratives—and for women artists, additionally, those relating to gender.

Drawn entirely from the Museum’s collection, the exhibition features nearly 100 paintings, sculptures, photographs, drawings, prints, textiles, and ceramics by more than 50 artists. Within a trajectory that is at once loosely chronological and synchronous, it includes works that range from the boldly gestural canvases of Lee Krasner, Helen Frankenthaler, and Joan Mitchell; the radical geometries by Lygia Clark, Lygia Pape, and Gego; and the reductive abstractions of Agnes Martin, Anne Truitt, and Jo Baer; to the fiber weavings of Magdalena Abakanowicz, Sheila Hicks, and Lenore Tawney; and the process-oriented sculptures of Lee Bontecou, Louise Bourgeois, and Eva Hesse.

"Making Space" shines a spotlight on the stunning achievements of women artists between the end of World War II (1945) and the start of the Feminist movement (around 1968). Join us for a conversation with MoMA director Glenn Lowry and curators Starr Figura and Sarah Hermanson Meister for a discussion on the opening of the exhibition.

- o0o -

The Barberini tapestries, scenes from the Life of Christ.
Detail from "The Consignment of the Keys to St. Peter." Photo: John Bigelow Taylor

Barberini Tapestries Return to Cathedral of St. John The Divine

By Val Castronovo

Cardinal Francesco Barberini (1597-1679), nephew of Pope Urban VIII, commissioned the works, which were produced at the tapestry workshop he founded in Rome in 1627. The series was woven over a 13-year period from 1643 to 1656. The massive weavings measure roughly 16-feet high and 12-to-19-feet wide and stand testament to the political and cultural power of the Barberini family.

Ten tapestries from the 12-panel Life of Christ series adorn three of the chapels within the Cathedral. At the Chapel of St. James, seven of the wool-and-silk-woven panels are wrapped around the room, providing a panoramic view of scenes in the life of Jesus — namely “The Annunciation,” “The Nativity,” “The Adoration of the Magi,” “The Baptism of Christ,” “The Consignment of the Keys to St. Peter,” “The Agony in the Garden” and “The Crucifixion.”

The adjacent Chapel of St. Ambrose houses the complementary pieces, “The Rest on the Flight into Egypt” and “The Holy Land” (a woven map). Behind the high altar, the Chapel of St. Saviour concludes the exhibit with a single tapestry, “The Transfiguration,” depicting the ecstatic scene, described in the Gospels, after Jesus climbs a mountain and appears to three of his disciples in shining glory. (Two darkened fragments from “The Last Supper” are in a display case nearby.)

If You Go

“The Barberini Tapestries: Woven Monuments of Baroque Rome”

The Cathedral Church of Saint John the Divine

1047 Amsterdam Ave., at 112th Street

Now through June 25, 2017

ONLINE: www.stjohndivine.org 

Read the full story here…

How Radical Can a Portrait Be?

Vinson Cunningham writes about two new exhibitions, both at the Studio Museum in Harlem.

“One, “Regarding the Figure,” curated by Eric Booker, Connie H. Choi, Hallie Ringle, and Doris Zhao, and drawn largely from the museum’s permanent collection, is a reflection—mercifully free of neurosis or worry—on what faces and bodies have meant to art’s recent and distant past. Here, figures are art itself, no mere phase or moment in time. Henry Ossawa Tanner’s lithograph “The Three Marys” presents the women at Christ’s tomb as a study in developing sorrow: three faces, three stages of grief. The Mary closest to us—she must be the Virgin—is just in the middle of raising her hands.

The other exhibition is Rico Gatson’s Icons

“Icons,” a solo exhibition of recent works on paper by the artist Rico Gatson, curated by Hallie Ringle, takes this ecstasy in personhood and makes it as visible as people themselves. Gatson appropriates old photographic images of famous black Americans—Zora Neale Hurston, Gil Scott-Heron, Nina Simone, Marvin Gaye—and surrounds them with bright, colorful lines that shoot outward from the personages to the borders of the page. Each of his titles is a simple, familiar first name. Purple, black, yellow, and red sprout from Zora’s scarved head. Bird’s horn shouts out black and white. Sam—Cooke, that is—has lines shooting out of his shoulders and his toes.

More Information

Regarding The Figure...

Now through August 6, 2017

Rico Gatson: Icons 2007-2017...

Now through August 27, 2017

Studio Museum in Harlem...

Read the full story here…

Surf’s Up on The Weekly Web

I don’t know about you dear reader, but I spend far too much time online. Some of my online discoveries find their way onto this blog in some shape or form, while others make their way to my Twitter feed and Facebook page. I have so many sticky notes cluttering up my desktop that I thought I might try a weekly Surfing The Web round-up of the best items I find online each week, and share them here. Speaking of surfing the web, I can’t think of better way to kick off this post than with an article looking at the beginnings of the internet.

The Life and Times of the World Wide Web

My internet service provider is the source for this Out Of The Archives piece about the origins of the Internet, or the World Wide Web as it was initially referred to by Tim Berners-Lee, the man who had the bright idea to begin the project in the first place way back in 1989. Some much has changed in the few short years since the advent of the internet, that it seems odd to think this groundbreaking, world-shaking service has been around for less than 30 years. 

By the way, the image seen above shows the world’s first internet server. I don’t know what the specs for the computer were, but I suspect they were not all that great when compared to today’s super fast computers with their almost unlimited storage drives, and ultra-sharp display monitors.

Read the full blog post here and make sure you follow the link to the world’s first web page.

- o0o -

NYC's Racist, Draconian Cabaret Law Must Be Eliminated 

For “the greatest city in the world,” New York has appallingly few places to dance. The next time you find yourself confined to toe-tapping to a tinny Top 40 song in a sports bar, or clutching an $11 Heineken in a booming EDM hall, you can thank the city’s cabaret law, a 90-year-old edict that despite being racist in origin and outmoded in practice, remains a very convenient cudgel for the city to wield against local businesses. Many valiant attempts to repeal it have been made over the years. None have succeeded.

So begins a piece by Lauren Evans in a recent issue of The Village Voice, one of the most venerable of New York City’s free ‘street’ papers. Lauren goes on to report that the law, which dates back to 1926. In its current form, the cabaret law prohibits dancing by three or more people in any “room, place or space in the city... to which the public may gain admission,” and includes “musical entertainment, singing, dancing or other form[s] of amusement.”

Read the full article here… 

- o0o -

Jimmy Breslin: The Last Word

I discovered the writing of Jimmy Breslin less than twelve months ago, and I have been making up for lost time ever since. At last count, I have eight eBooks by Jimmy Breslin on my iPad, and I am working my way through all of them slowly but surely. Sadly, Breslin, who was 88, died earlier this year after long and illustrious career in journalism, which he followed up with an equally illustrious career as an author of (mostly) crime novels, which drew on his many years as a reporter in New York City.

The New York Times’ ‘Last Word’ series are video obituaries of prominent Americans, among them politicians, sportspeople, writers, directors, and musicians. 

Here is an obituary from the New York Times that provide more information about this man. If you are into reading, I highly recommend that you seek out his books in printed form or in electronic form. You won’t be disappointed.

Vancouver Island’s enchanting quarry gardens

Quarries are not generally noted for their elegance, but the glorious Butchart Gardens on Vancouver Island show a makeover at its very best. Amanda McInerney paid a visit the Butchart Gardens on Vancouver Island, off the coast of Canada. The gardens have been developed on the site of an exhausted quarry owned by Robert Butchart. In 1909, when the limestone extraction was completed, Robert’s wife Jenny set about turning the quarry pit into a sunken garden.

Read the full article here…

Australia’s Northern Territory

My one and only visit to the Northern Territory took place in 1983, during a brief visit to Alice Springs and Uluru (previously known as Ayers Rock). Somewhere on my Bucket List is a plan to visit that region of the Northern Territory we call the Top End. Thankfully, Monica Tan, writing for the Guardian, has put together a comprehensive guide to the Northern Territory that has reminded me of my previous all too brief visit, and reminded me as well, that I need to see more of this amazing country.

Read the full article here…

Monday Movies – The Vanishing El

The elevated line at Broadway and 125th Street

If you are a keen moviegoer like I am, you will almost certainly be familiar with the elevated railway lines that are used to such great effect in films like The French Connection, Saturday Night Fever, and the opening credits of Welcome Back Kotter. While most of the elevated lines in New York City (colloquially referred to as the ‘El’), have long disappeared from Manhattan, wonderful examples of these amazing engineering works can still be seen in Queens and Brooklyn. However, a short section of elevated line for the ‘1’ Train still soars high above Broadway and 125th Street in Harlem.

Manhattan’s most famous surviving section of elevated line today must surely be the formerly abandoned, by now newly renovated west side line. This has undergone a new lease of life, and been reborn as the incredibly popular High Line (see Walking The High Line, Street View Comes to The High Line, and here...). All of which serves to introduce today’s series of Monday Movies featuring the former Third Avenue El.

If Things Could Talk: The Vanishing ‘El’ [10:00]

As the name implies, the Third Avenue El, ran the length of Manhattan’s Third Avenue before crossing over into the Bronx. The first segments of the line opened in Manhattan in 1878, and service continued before the line was eventually shut down in stages – beginning with the Manhattan sections in the 1950s – before the complete shut down of the Bronx section in 1973.

The Third Avenue El was featured in a number of films, including The Lost Weekend (1945),The Naked City (1948), On the Town (1949), The Killer That Stalked New York (1950), and On the Bowery (1956).

The 3rd Avenue El [10:39]

In this film a beatnik photographer with a tripod, a stumbling drunk from the old Bowery, a giddy little girl travelling with her father, and a couple on a romantic excursion help create a loose narrative of life on the old El.

See more films at: http://www.weirdovideo.com 

The Viewing List 3

Another in our weekly selection of slide shows and video’s that have caught our attention and interest while trawling across the far reaches of the Internet. Enjoy…

The 20 best NYC movies of all time
Starting with Spike Lee's 1989 offering, Do The Right Thing, and ending with Super Fly (1972), Melissa Anderson, David Fear and Joshua Rothkopf of Time Out online take on the all but impossible task of selecting the 20 Best NYC Movies of All Time.

Of course you will find Martin Scorsese's searing Taxi Driver, and Sidney Lumet's Dog Day Afternoon here, as well as the original Taking of Pelham 123 and Woody Allen's Manhattan. Both Scorsese and Woody Allen score two films in Time Out's top 20 with the inclusion of Scorsese's 1985 flick, After Hours, and Allen's Hannah and Her Sisters (1986).

You will also find some less known films on the list, including the 1953 film Little Fugitive (see image above), John Cassavetes’s debut 1959 film, Shadows (1959), and 1957s Sweet Smell Of Success. See the full slide show here…
Unfortunately, my favourite New York film, Sergio Leone’s Once Upon a Time in America is not listed among the top 20, which only goes to show that even Time Out can’t always get it right ;- ).

-o0o-

Dennis Hopper Reads Rudyard Kipling on Johnny Cash Show
The poem is “If” by Rudyard Kipling (1899). The scene is The Johnny Cash Show, 1970. The reader is the great Dennis Hopper. Hard to beat this…

Thanks to Open Culture for the heads up on this. Follow them on Twitter at @openculture

-o0o-

The Viewing List 2

Another selection of slide shows and video’s that have caught our attention and interest while trawling across the far reaches of the Internet over the past week. Enjoy…

George Harrison Documentary Premieres at Telluride
Charley Rogulewski, writing for Rolling Stone magazine reports on the new Martin Scorsese documentary on George Harrison called George Harrison: Living In a Material World.

If it is anything like Scorsese’s brilliant 2005 doco, Bob Dylan: No Direction Home, the 210 minute (3 1/2 hour) two-part documentary will be pretty much everything a George Harrison fan could wish for.

The film, which was five-years-in-the-making, premiered over American Labor Day weekend at the Telluride Film Festival, and coincides with the 10-year anniversary of Harrison's death in 2001 from lung cancer. The documentary, which will begin airing on HBO starting October 5th, was made with the full support and cooperation of Harrison’s widow, Olivia, and son Dhani, and includes interviews with her, Ringo Starr, Paul McCartney, Tom Petty, Klaus Voormann, Terry Gilliam, Eric Idle and Eric Clapton, among others.

Below you can see the official trailer for George Harrison: Living in the Material World.

...

...

Read the full Rolling Stone article here…

-o0o-

Highlights of Harlem (slide show)
Starting with the City College of New York, and ending with the Harlem Market, the Travel Channel has put together a 17 stop slide show of the some of the best landmarks that Harlem has to offer. In between you get the iconic Apollo Theater, the Hue-Man Bookstore (said to be the largest African-American bookstore in the country), a selection of restaurants and eating establishments (Make My Cake, Chill Berry, and Food for Life Supreme), and arts and cultural institutions (the Studio Museum in Harlem, Lenox Lounge, and the Maysles Cinema).

-o0o-

The Jacques Marchais Museum of Tibetan Art
Recently I wrote about the Jacques Marchais Museum of Tibetan Art on Staten Island, New York. Although the video below was broadcast on the Time Warner Cable program On The Beat, and talks in part about a now concluded 60th anniversary exhibition, it provides a great introduction to the museum.

-o0o-

Summer Stage: Gil Scott-Heron

Image: Screen shot from the video for I'm New Here

The first time I heard Gil Scott-Heron was back in the early 1970s. At the time I was staying in a Youth Hostel in Paris. While many of the fine details are now lost to my ageing memory, I can still remember with absolute clarity, sitting in the lounge of the hostel one day, chilling out while music boomed over the in-house audio system.

At some point, this incredible piece of music began playing. It was unlike anything I had ever heard before. A mix of jazz and funk. A voice that was at once angry, insistent, and compelling. A voice that demanded attention as the performer spat out words to a poem which contained the recurring line/refrain, "the revolution will not be televised..."

The revolution will not be televised
You will not be able to stay home, brother.
You will not be able to plug in, turn on and cop out.
You will not be able to lose yourself on skag and
Skip out for beer during commercials,
Because the revolution will not be televised.

The revolution will not be televised.
The revolution will not be brought to you by Xerox
In 4 parts without commercial interruptions...
© Copyright, Gil Scott-Heron

On and on went the voice, for what seemed much longer than the few minutes the song took to play through. I sat hypnotized by what seemed like the perfect mixture of form, rhythm, lyrics, and a performance by a man who clearly believed every word his was reciting. It was probably a year or more before I heard the piece again, confirming the name of the song, and before I finally found out who the performer was.

Gil Scott-Heron (born April 1, 1949) is an American poet, musician, and author known primarily for his late 1970s and early 1980s work as a spoken word performer and his collaborative soul works with musician Brian Jackson. His collaborative efforts with Jackson featured a musical fusion of jazz, blues and soul music, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. The music of these albums, most notably Pieces of a Man and Winter in America in the early 1970s, influenced and helped engender later African-American music genres such as hip hop and neo soul. Scott-Heron's recording work is often associated with black militant activism and has received much critical acclaim for one of his most well-known compositions The Revolution Will Not Be Televised. On his influence, Allmusic wrote "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists". [Source: Wikipedia...]
Last night, Gil Scott-Heron performed in Harlem’s Marcus Garvey Park, as part of the Summer Stage series of free open air concerts currently being held around New York City.

Gil didn’t perform The Revolution Will Not Be Televised last night, but he did enthrall an appreciative crowd of several thousand people with a 90 minute selection of songs from his new album, I’m New Here, and a number of classic songs from his recording career including Pieces of A Man and The Bottle.

It was a great performance from a man who, quite frankly, has not aged well. As little as three years ago, Scott-Heron was doing time in New York’s infamous Riker’s Island prison for cocaine possession. He looks ten years older than his 61 years. And yet. And yet, Gil Scott-Heron still has it. If his voice was any lower – it would be gravel. He still knows how to command a stage, and the audience was not there to see the last gasp of a great poet, songwriter, and author, but to see a man reborn.

As he sings in the title song of his new album, I’m New Here:

No matter how far wrong you’ve gone,
You can always turn around.

I’ve embedded the official video for his latest album, I’m New Here so you can see this great artist for yourself. The guitarist is Pat Sullivan.



Even now, over 30 years since I first heard it, The Revolution Will Not Be Televised still has ability to stop me in my tracks and distract me from whatever it is I am doing.

Click here to read more about Gil Scott-Heron and view the full lyrics to The Revolution...

You may also need to refer to this page on Wikipedia to help put many of the references in The Revolution Will Not Be Televised in context.

Finally, searching for Gil Scott-Heron on YouTube will reveal a host of clips, official and unofficial, showcasing the music and poetry of this unique artist.

Amateur Night at the Apollo Theatre

...

Harlem’s Apollo Theater has been running Amateur Night events for over 75 years. In fact, Wednesday nights at the Apollo have become a New York institution, and have seen some of contemporary music’s greatest performers compete and win the event.

The Amateur Night at the Apollo winners circle reads like a Who’s Who of the best African-American talent you could hope for. It includes Billie Holiday, Sarah Vaughan, Ben E. King, Jackie Wilson, Gladys Knight & the Pips, The Ink Spots and many others. Ella Fitzgerald, one of the first Amateur Night winners was just 15 when she stepped onto the Apollo Theater stage.

As I entered the great gilded theater, a pre-show “jam fest” with DJ Jess was in full swing. Apollo audiences come ready to party, and as the audience slowly filled the theater, no-one worked harder than DJ Jess to get the party started! The comedian Capone is Master of Ceremonies and host of the evening. He explained the ‘rules’ of the evening and spelt out what was expected of the audience, while keeping the mood light, upbeat, and things running smoothly.

The excellent house band was headed by the evening’s musical director, Ray Chew along with three fellow musicians, called his Crew – hence their stage name, Ray Chew and his Crew. While some of the contestants performed to prerecorded backing tracks, Ray and his Crew were kept busy throughout the night playing live for most of the acts.

The last member of the on-stage team was C.P. Lacey, who, as the Apollo's Executioner, had the task of clearing the ‘bad’ talent off the stage. CP bills himself as a comedian and celebrity impersonator, and opened up the second half of the evening with a very good impression of James Brown. Apparently he also does an impersonation of Tina Turner. Now that would be something to see!

Having watched a few Amateur Night contestants via YouTube, I must say I was a little apprehensive about attending this event. Let me explain why. As a singer-songwriter and occasional performer myself, I know just how hard it is to walk onto a stage and perform before an audience. A whole multitude of doubts and insecurities must be overcome before you can brave the stage lights and sing and play competently for anything up to a couple of hours. And remember, I’m talking about performing before an audience who – for the most part – are on your side even before they walk in the door. As a rule, these audiences do not come primed to boo you off the stage if you are not quite up to scratch, or fall short of their expectations!

The night kicks of with the “Child Star of Tomorrow” segment. Reserved for children between the ages 5 and 15, our host, Capone was quite clear about the rules governing this section of the event. No booing was allowed, but as much cheering and support as the audience was willing to give was encouraged.

Of the three acts who took part in the ‘Child Star’ segment on the night I attended (July 14, 2010), the clear winner was 12 year old Veronica Oreliana. Following a note perfect performance filled with passion and emotion belying her young age, the audience exploded into a thunder of well deserved applause and roaring cheers. Actually, Veronica had us eating out of her hand from the very beginning, and throughout her song we cheered and clapped with raucous abandon. It was a testament to Veronica’s performance that she wasn’t distracted by the audience and was able to complete her song without faltering.

Short clips of the winning performances are can be seen on this blog via my next entry...

...

And just because I can embed it here, take a look at Veronica singing an unaccompanied version of the song, Beautiful...

I’m sure Veronica has the potential to turn into a great entertainer if that is what she chooses to pursue as she gets older and continues to mature.

Every week, during the break between the Child Star of Tomorrow segment, and the main event, audiences are treated to a big screen tribute to a former star of the Apollo. On this night the homage was for the Hispanic percussionist, Tito Puente.

Tito Puente was a Latin Jazz and Mambo musician. The son of native Puerto Ricans Ernest and Ercilia Puente, of Spanish Harlem in New York City, Puente is often credited as "El Rey" (the King) of the timbales and "The King of Latin Music". He is best known for dance-oriented mambo and Latin jazz compositions that helped keep his career going for 50 years. He and his music appear in many films such as The Mambo Kings and Fernando Trueba's Calle 54. He guest starred on several television shows including The Cosby Show and The Simpsons. [Source: Wikipedia]

And now to the main event. At the completion of the 2010 Amateur Night season, the overall winner takes home a cash prize of $10,000 – the first time the Theater has offered such a substantial cash reward. So a lot is at stake for each of the performers appearing throughout the year in the lead up to the finals.

Just for the record, here is a list of all the contestants who appeared on July 14: Haron Miller, Donnic Shade, Briana Jackson, Jocelyn Jenkins, Dance Dimensions, Junious Sampson, Kid Dot, Avery Segers, Cat Stratakis, Full Effect, Jaime Sommers and Veronica Oreliana.

I’m not going to give a blow by blow account of every act that appeared during the night, but I will offer my overall impressions and observations.

Firstly, Amateur Night audiences can be brutal, and contestants literally have seconds to get the audience onside. Hit a bum note, or come across as a poser or ‘pretender’, and the crowd will put you in your place immediately. Some performers were able to persist through the booing to win back some audience approval at least long enough to complete their song.

Secondly, choosing songs with ‘me’ lyrics go down much worse than songs with ‘you’ lyrics, and any song which includes the line “I love you” tends to get a very good response, if only because it allows the performer to point to the audience as they sing those lines. It makes it much harder for an audience to boo you if you are telling them how much you love them!

Thirdly, given a competent performance, overwhelming numbers will win over solo performers every time. This was demonstrated clearly when the eleven member dance group, Dance Demensions won the July 14 Amateur Night contest. Assuming each member of the group was represented in the audience by 20 people (immediate family, extended family and friends, etc), then it is clear they already had a sizeable section of the audience on their side before they even took to the stage.

I’m not suggesting they did not deserve to win. Their routine was energetic throughout, and every dancer gave 110 per cent. I’m just pointing out the math involved. Effectively, the two runners up, Cat Stratakis and Jocelyn Jenkins were each outnumbered 11-1, and winning against those sorts of odds is always going to be very difficult. Come to think of it, since the two women were competing against each other as well, that then makes the odds of winning, 12-1.

WINNING BY POPULAR ACCLAIM

Winners are chosen by the audience by popular acclaim. That is, at the end of the night (and at the end of the Child Star of Tomorrow segment), all performers are brought back onto the stage and the audience chooses the winner by making as much noise as possible for their preferred act. Again, the no booing rule applies during this process, although not everyone abides by it. Like I said, it's a brutal process, but then the music industry can be even more brutal on its stars and wannabes, so they might as well get used to it.

THE TREE OF HOPE

I can’t leave this review without mentioning The Tree of Hope. The legend and tradition of this tree stump apparently began outside the famous Harlem Lafayette Theatre which used to be located between 131st and 132nd Streets on Seventh Avenue.

The Lafayette was then Harlem's top show biz venue featuring African-American talent. The Lafayette soon became the scene for aspiring actors, dancers and performers to mix, gather and exchange information and gossip. The Tree of Hope stood between the Lafayette Theatre and Connie's Inn and black performers believed the tree to be the purveyor of good luck to those who stood beneath its branches. The tree came to symbolize the promise that Harlem held for millions of aspiring African-Americans. [Source: Apollo Theater website]

The tree was eventually cut down when Seventh Avenue was widened to accommodate the growing transport needs of New York City. However, a large section of the trunk was saved, and this now stands on the Apollo stage, and sure enough every performer made sure they touched the ‘tree’ before beginning their song or dance routine, in the hope they might share in the good fortune of so many past performers.

To conclude, Amateur Night at the Apollo Theatre was great fun and a real blast. Getting the chance to see some real ‘stars of tomorrow’ just added to the occasion. Although Amateur Night has become a tourist attraction in its own right, for the performers and their families, the competition – with its $10,000 cash prize – is no game. Their participation in the event is a very serious affair.

The Apollo has three levels of seating: Orchestra ($27.00); Mezzanine ($22.00); and Balcony ($17.00). You can book in person at the Apollo Theater Box Office on 125th Street, or by calling Ticketmaster 1-800-745-3000.

You can see a comprehensive list of performers and previous Amateur Night winners here…