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Artistry

Beautiful, Dirty, Rich: The Fame Era

Part 1: Lady Gagaâ??s rise to stardom, her rare artistry, and the prelude to the Monster Era.

The mainstream media will always point out her outrageous or shocking haute couture. They will mention the shoes, the hair, and might cite â??Bad Romanceâ? as her greatest accomplishment. Some who have come to love her music are still skeptical of what they see as celebrity antics. Our parents might see a confusing performance on TV while sipping their morning coffees; and while some who donâ??t know her may assume that sheâ??s the product of a typical rags-to-riches lucky break whoâ??s now spritzing prepackaged values around at each show and interview, those who have watched each and every one of her moves will know that thatâ??s all wrong, and that we can all learn a thing or two from the true artist who is Lady Gaga.

I downloaded â??Just Dance,â? her first single, in November of 2008. It had dropped that spring. I was a junior in high school that fall, but I donâ??t remember becoming a fan until the next summer when I was at Brownâ??s summer school. The entire album, The Fame, had been released by then. The same summer as Michael Jacksonâ??s death, her music soaked the air at parties, clubs, and in the cars of anyone listening to the radio. I loved Gagaâ??s work just as Iâ??d always loved dance music. But this time it was mainstream, and it was big. I watched an interview she had recently done and I remember telling my roommate that she was absolutely crazy. She was a petite and shy girl, just 23 at the time, who said really strange things. Her parents were proud of her, but I didnâ??t see how they could be. I thought what most people thought about her, but I was intrigued enough to keep paying attention.

Had I not let my love of her music turn into an all-encompassing infatuation, I may have never learned the truth about her. The truth that she grew up wealthy, went to private school, the best in New York, with Paris Hilton, and had a loving and stable family that supported her musical talent. Her talent is real; she played piano from a young age and attended NYUâ??s Tisch School of the Arts before dropping out in her first year. She worked hard, performing in clubs and bars to make a name for herself. At first her father was horrified when he saw her singing and dancing in clubs bikini-clad, but later he used his connections to promote her passion. She was signed and then dropped. She says â??Just Danceâ? saved her life â?? it was her first song to make it after she signed with Interscope. The right people took her seriously and she skyrocketed to the very top. â??Just Danceâ? reached 6-time platinum status in the United States and Canada and charted high around the world, too. You donâ??t need to understand her to admire her music, but just like the record executives who listened to what she had to say, the fans that took the time were pleasantly surprised. After all, as a pop singer the bar was low. But she was the only one who wore 12-inch heels.

An artist from birth, she first started to express herself, as all artists must, through fashion. She cites her hometown of New York as the inspiration for her choice to dress in an outrà way. Since the way you look is the first thing people see and use to judge you, it can define you from the outside.

Lyrically, she wrote what she knew. And at the time, that included boys, sex, drugs, alcohol, and clubs â?? the rungs of the ladder to the top. Lucky for her, thatâ??s what sells and that helped â??Just Danceâ? make it big. Produced by Red One, it had fresh dance undertones that caught more attention than the usual pop productions. â??Poker Face,â? â??Love Game,â? and â??Paparazziâ? saw huge success as singles later on.

But underneath the glitz and glam that would soon be shed, Gaga was serious. There was never any lip-syncing, and in her interviews she was introspective and too grown-up for any interviewer that was sent her way. Like those who still write her off because of her style, it was hard for many to see how incredible this woman would be because the words she was singing had been sung before. But what was different was her attitude. She didnâ??t want the fame, the money (she later went broke), or the attention. She had been put on Earth to write and perform music, and thatâ??s what she was doing.

In todayâ??s popular music, such lack of an agenda is unheard of â?? just compare her to the other big names in pop and it clear. She was the only one to do it for the art, but you had to dig a little deeper to find that out. From the surface you wouldnâ??t know her artistry if you simply judged her without inspecting her and taking her in. But Gaga wasnâ??t trying to let critics see her easily â?? life is too short to please everyone.

Artists care about their fans, not only because they provide them with the financial support to carry on, but also because fans are emotionally invested in the art and care about it just as much as the artists do. That is a crucial symbiosis for artists. The artist, at heart, only wants fans that are worthy of them. For Gaga, those who were worthy saw through the clothing and looked a little deeper than the music. Thus, the first â??Little Monstersâ? were born. For the ones that stuck with her, the reward would come soon. While her mass appeal brought in enough dough, her real sustenance was her fans, those who loved her for who she was. But while those who were loyal kept the art alive, millions of others forged the fame that began to eat her. Months after The Fame had made her a star, the bruised and mangled Gaga picked up the pen again, and 19 months after â??Just Danceâ? dropped, The Fame Monster was born.

Travis Hallett â??14 (travishallett@college) is excited to have timed his Gaga series so well; look for further installations in the next weeks as the Indy counts down to Gagaâ??s arrival at Sanders Theatre on February 29.

Free haircuts at Artistry in Hair Feb. 11 benefit Locks of Love

Free haircuts at Artistry in Hair Feb. 11 benefit Locks of Love

Artistry in Hair will hold its ninth annual Locks of Love from 9 am to 3 pm on Feb. 11 and is offering free haircuts to those donating 10 inches or more of their hair to the event.

In addition, light refreshments will be served.

Locks of Love is a public nonprofit organization that provides vacuum-fitted hairpieces to financially disadvantaged children suffering from long-term medical hair loss from any diagnosis. The organization meets a unique need for children by using donated human hair to create high quality-hair prosthetics.

The hairpieces require between six and 10 ponytails and take four to six months to manufacture. Donated hair is evaluated for its usefulness according to the following guidelines: it must be at least 10 inches, clean and dry; must be bundled in a ponytail or braid; bleached hair cannot be used; and hair that has been dyed or permed can be used.

Natalie Phillips, owner of Artistry in Hair, is encouraging area residents to let their hair grow for the event.

“It’s a way for the Ramona community to show love on Valentine’s Day,” she said.

Phillips is also accepting donations of cash, checks and packaged hair accessories for Locks of Love.

For more information call Phillips at 760-789-1231 or visit Artistry in Hair at 1008 D St. The salon’s webite is artistryinhairdayspa.com.

More information on the nonprofit organization is available at locksoflove.org.

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Artistry For A Cause

Artistry For A Cause

Sueanne Shirzay has compiled jewelry, soap and fine arts to benefit the National Domestic Violence Hotline.

Open day at International School of Make-Up Artistry

The International School of Make-up Artistry will hold an open day on Tuesday February 7 from 3pm to 6pm. The day will give prospective students the opportunity to meet the school principal, the school manager, and to watch a make-up demonstration by one of the schools make-up artists.

If you would like to attend the open day, contact the school to book your place, as places are limited.

The make-up artistry diploma courses offered in the school cover all aspects of beauty make-up including day, evening, bridal, and fashion/trend looks, plus much more. Qualifications from the school are internationally recognised, and many graduates have been placed in full and part-time employment worldwide through the school. If you would like a career in film/TV or fashion, or to set up your own business, specialising in bridal and special occasion make-up, the school can offer a suitable course for you.

The International School of Make-Up Artistry is supported by MAC Cosmetics, and students in the diploma course receive a MAC make-up kit, valued over euro;350, compliments of the school.

Part of your training in the school is the opportunity to complete a photo shoot with a professional photographer. Pictures of some of the students most recent work can be seen on this page; to see more visit www.schoolofmakeupartistry.ie

For more information on the school, or to book your place for the open day, contact

087 1214678, email info@school ofmakeupartistry.ie or visit www.schoolofmakeupaartistry.ie

Bartenders warm to the new Ice Age

Crafting crystalline cocktails. Its artistry behind the bar with pure frozen H20. Round rocks or cubes, they wont dilute.

‘A Musical Mosaic of African-American Artistry’ Coming to Lander

GREENWOOD ? Each semester, Lander University?s best ensembles and soloists team up to put on what the music department calls its ?collage concert.?

?A Musical Mosaic of African-American Artistry,? as this semester?s concert is being called, will feature rapid-fire performances of works by composers like Duke Ellington, Fats Waller, William Grant Still, James Reese Europe, Luckey Roberts and Charles Mingus. The show, scheduled for Thursday, Feb. 9, is expected to add some flair to Lander?s celebration of Black History Month.

Lander?s Jazz Ensemble, led by associate professor of music Dr. Robert Gardiner, will perform several selections, including Ellington?s ?Take the ?A? Train? and Mingus? ?Better Get Hit in Your Soul.? Lander?s Wind Ensemble, led by assistant professor of music Dr. Reed Gallo, will likewise be busy, performing Valerie Coleman?s ?Umoja ? Anthem of Unity? and Still?s ?Scherzo from Afro-American Symphony.? Multiple selections will also be performed by Lander?s University Singers and Old Main Singers, directed by associate professor of music Dr. Chuck Neufeld, and Lander?s Faculty Brass Quintet will play a pair of tunes, including Waller?s ?Handful of Keys.?

Other highlights include vocal renderings of George Gershwin?s ?My Man?s Gone? and ?It Ain?t Necessarily So,? from ?Porgy and Bess,? and an arrangement for strings of the spiritual ?Deep River.? Two piano duos will also be featured ? associate professor of music Dr. Robert Kelley and music major Kelly Hammond will play Europe?s ?Castle House Rag,? and professor emeritus of music Dr. Anthony Lenti and music major Matt Miller will play Roberts? ?Pork and Beans.?

Gardiner, who organized the event, said the collage concert ?has always worked very well in the past,? and he expects that this semester?s show, scheduled to begin at 8 pm in the Josephine B. Abney Auditorium, will likewise be ?an interesting and fun concert.?

The concert is free and open to the public.

In pole dancing, man finds artistry, athleticism and therapy

Pole dancing in Sin City was not the plan.

Is it ever? Few kids grow up aspiring to earn a living on the pole.

Timber Brown, 26, certainly didnt. With his background — an abusive childhood, alcoholic parents, a period of homelessness — hes lucky he grew up. He planned to be a Texas cop, right some wrongs, maybe help someone escape a hard life. The kind of life he knows all too well.

But Brown believes people are born with a purpose. Just as surely as some are meant to be doctors, lawyers, teachers or plumbers, Brown was destined to be a pole dancer.

It gives him a purpose the police academy never did. It also has been his savior, soothing him in a way nothing else has.

He knows that many people, the uninitiated, wont get it. But thats because they havent seen the things he can do on a pole.

If you could, he would make a convert out of you.

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Brown knows what youre thinking: A guy, on a pole? Weird. He must be a stripper.

He is a guy but he is no stripper. And weird is so subjective. Who isnt at least a little odd?

In Las Vegas, pole dancing is mostly associated with strip clubs or bachelor parties or bored housewives who take a pole-dancing class to spice up their marriages. While male pole dancers are uncommon, theyre far from unusual.

Brown prefers to be called a pole artist but he openly embraces the pole dancer moniker. You cant get away from the exotic roots of pole dancing, he says. And theres no shame in that background.

What he does is more of a cross between acrobatics and rhythmic dancing on a pole. Yes, thats very similar to what strippers do, but Browns style is less erotic with more high-flying acrobatic feats. He does flips 10 feet in the air and catches himself before falling to the ground. He slides head-first down the pole, twisting and back-flipping on his way to the floor.

My kind of style is a lot different than most, he says. Its painful.

It was five years ago, when Brown discovered his affinity for pole art, that a new method of performing began to take off. Members of the local pole-dancing community say it grew out of all those striptease classes. People wanted to make it less erotic and more sportlike so they adapted gymnastic moves usually associated with Chinese pole acrobatics, something not at all related to stripping. There is a Chinese pole act in Cirque du Soleils Mystere.

Pole fitness studios opened, promising to teach anyone how to use a stripper pole to lose weight, strengthen their core muscles and improve their self-esteem. This new breed of pole dancer began holding competitions. At first, it was all women, but over the years, men, such as Brown, joined in. Hes an award-winning pole dancer, named the 2011 Pole Athletes Champion at the International Pole Dance Fitness competition in Denver. He often teaches women how to be more athletic on the pole.

This thing has gotten bigger in the last few years. A lot of people have jumped on the bandwagon, Brown says.

Brown works as a freelance pole artist and aerialist, pairing with his girlfriend, Alyssa McCraw, on silks, trapeze and other flying apparatuses. Hes been in a few Las Vegas shows since moving here in 2007. He and McCraw were a featured act for several months on a cruise ship. They do a lot of convention and private vendor work.

But thats separate from his pole dancing/pole fitness work, which has become his driving force in life. He wanted to be a cop so he could help others. He is convinced there is a way he can help people through pole dancing.

I have a lot to contribute to the community, he says. I just have to figure out how to do it.

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Fearless. Unbreakable. Gravity-defying.

These are a few of the qualities that make Brown one of the best pole artists in Las Vegas, says Amy Gale, producer for San Diego-based Imagination Entertainment.

And they are the qualities that inspired her to hire him for his first pole gig in the summer of 2006. Gales company provided entertainment for SeaWorld . After watching his audition video, she cast Brown as a Chinese pole acrobat.

His video was so crazy and nontraditional as far as a gymnastics video,#xa0;Gale recalls. It was kind of extreme acrobatics. He was hanging on the rafters of his gym and dropped off. It was amazing, very impressive.

Brown was living in Texas at the time, attending the criminal justice program affiliated with the Fort Worth police academy. He wanted to be a Marine, like his father, but it wasnt conducive to his long-term plans for marriage and kids. He worked part time at Texas Tumblers, teaching gymnastics to kids. One of his friends recorded his crazy antics in the gym one day and persuaded Brown to send the video to Gale.

I grew up climbing everything. I did my homework in trees, Brown recalls of his childhood.

The past is not something he talks about a lot, not because it bothers him but because its just the way things were. It does no good to constantly rehash old hurts.

I know that he has a lot of hurt and pain, says his mother, Donnia Harris. She still lives in Texas. And I hate that. But he uses it to motivate him instead of letting it get him down.

His father, a former Marine, drank a lot, Brown says. His mother abused drugs and alcohol. Both are sober now, but Browns childhood was chaotic and unsettling. He ran away from home at 15 after butting heads with his father one too many times. He stayed with a friend for a while before trying to live with his mother, but life was too uncertain with her. Brown found a boys home that agreed to take him in, the Anchor Academy for boys in Montana. He lived there until he was almost 17.

It was for troubled teens, he says, but he wasnt troubled. Just homeless. After that, he moved to Texas to live with his mother, who had remarried and was newly sober. His alternative high school in Texas introduced him to organized gymnastics.

These kinds of things hinder people, Brown says of his upbringing. I feel really blessed to have done the things Ive done and to do what I do now. It didnt seem like anything like this was ever in the cards for me.

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Alyssa McCraw, 27, was first attracted to Browns enthusiasm.

They met at SeaWorld in 2006 where they were both part of the high-flying entertainment. A seasoned performer in her early 20s, McCraw was struck by Browns gleeful approach to their act.

You could see he was definitely different from the rest of us, she recalls. He was full of excitement, even after long, exhausting months of rehearsals. He was almost childlike.

He reminded her of just what she loved about performing. They started hanging out together. Soon, they were dating casually. Then they were living together. At the end of the SeaWorld contract, they decided to leave Southern California for the more affordable Las Vegas. Work was plentiful and housing cheaper. McCraw does not share her boyfriends love of pole work. She dabbled in it during circus school and thinks its impressive but its not something she aspires to do, mainly because it hurts.

I have a lot of respect for it, McCraw says. Its neat to see that its grown so much as a separate entity. I just dont enjoy doing it.

Brown is exuberant. Involved. Committed to his pole artistry. He is driving his girlfriend crazy. She can ask him 100 questions but he wont have an answer to any of them, unless they involve poles.

Brown knows he is a pole-aholic.

She is not very supportive of me and my pole endeavors as far as the pole dancing side of it, which makes sense because I have been involved in quite a few events that have ended up costing me money, he explains.

Its not that she isnt supportive; she thinks he is immensely talented. Pole work is in his blood, she says.

McCraw just doesnt want him to put all his eggs in the pole-dancing basket.

He has such a passion for it and I do want to support him, McCraw says. I have to play devils advocate and bring some reality to him, though. He has a hard time letting some things go.

There are so many other interests he could pursue, she says. McCraw is afraid he will miss out on them with all this focus on poles.

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Pole dancing lets Brown indulge his creativity. He loves to think about tricks and routines.

I had this dream of doing an act with one pole, a spotlight and a woman in a chair playing a cello, Brown says during rehearsal one day. He dreams a lot.

Pole artistry gave Brown so much. He has been able to earn a living with it and its given him a sense of peace. He feels as if it has healing properties. Because he has gotten so much from his art, he wants to give back.

There are still issues I have from my childhood, I know. I just feel really fortunate. I dont think a lot of kids will end up being as fortunate as me, Brown says. I wanted to do something with kids whove had lives like mine. I just have to figure out how.

Contact reporter Sonya Padgett at spadgett@reviewjournal.com or 702-380-4564. Follow @StripSonya on Twitter.

Broad skills reveal the true artistry of France’s most charming actor

DO NOT be fooled by Jean Dujardins smooth, possibly Oscar-winning, charm in The Artist. True, France is more than ever in love with him: the French version of satirical show Spitting Image has rushed out a new puppet, he was among French GQs men of the year and is permanently on front pages.

But if France adores and idolises him (he has long been Pariss most bankable actor), its not for his sauveness but because he is the undisputed master of French naff.

An unpretentious, working-class joker, who was a locksmith before launching into cabaret standup, Dujardin found fame in the late 1990s for his scathing sendups of Jean-average: bog-standard French men, with all their prejudices, foibles and bathroom habits (pumicing their heels) or cruelty to their girlfriends (accelerating and breaking in the car while she tries to apply makeup). For years, Dujardin has been the man who forced everyday France to laugh – very loudly – at itself.

MLS Insider SuperDraft Diary: Artistry off the pitch

KANSAS CITY, Mo. There was no time to acclimate to the cooler weather of Kansas City after arriving from Ft. Lauderdale on Wednesday. Upon walking out of the airport, you were immediately hit with the fact that you had exchanged the Florida sun for the bitter cold of a Midwestern winter.

There was also no time to ease into the madness that is SuperDraft.

After touching down just after noon, I sent my bags to the hotel with a co-worker and hopped in the first available cab to make my way to the Nelson Atkins Museum of Art, a sprawling, world-class encyclopedic museum that houses everything from works by Rodin to giant-sized shuttlecocks. Here a selection of MLS hopefuls including Luis Silva, Nick DeLeon and Tony Cascio would create an original work of art using only their painted feet and couple of similarly treated balls.

The result was equal parts Jackson Pollock and Jack Wilshire; a spray of multi-colored footprints, cleat marks and streaks from the rolled ball. Ive seen a lot PR events over the years, but this was by far the most creative, in both concept and final product.

DeLeon may be a novice when it comes to painting but the former Louisville playmaker considers himself an artsy guy. He was quite proud of his work and why shouldnt he be? How many of us can say they have artwork hanging in the same place as Rodin?

This was fun, DeLeon said. Ive never done anything like that before and probably wont do anything like that again.

Tony Cascio was equally enthused. So much so that he painted orange streaks under his eyes that resembled something bordering on war paint in the end.

I was nervous at first, but once I got out there, it was really fun, offered Cascio. I had a really good time.

RED Paints the Artistry and Anguish of a Brilliant Mind

Written by John Logan; directed by David R. Gammons; scenic design, Cristina Todesco; costume design, Gail Astrid Buckley; lighting design, Jeff Adelberg; sound design, Bill Barclay

Cast: Thomas Derrah as Mark Rothko, Karl Baker Olson as Ken

Performances: Now through February 4, SpeakEasy Stage Company, Virginia Wimberly Theatre, Boston Center for the Arts; tickets available at 617-933-8600 or www.BostonTheatreScene.com

A mesmerizing performance by Thomas Derrah as the brilliant but troubled abstract expressionist painter Mark Rothko gives this 2010 Tony Award-winning play by John Logan its sizzle at SpeakEasy Stage Company in Boston. Derrah wraps ego around self-doubt and peppers his performance with so much biting arrogance that we never for one minute doubt that this man is the talented and tormented artist who strove first and foremost to make people feel in a deeply visceral way.

In RED, Rothko and his graduate student assistant Ken (Karl Baker Olson) work together over a two-year period beginning in 1958 on a series of large red and black murals commissioned for the Four Seasons Restaurant located in New Yorks famed Seagrams Building. While Rothko tries to educate his young protege about the truth he is trying to express in his art, he struggles with his own contempt for the blatantly commercial pieces he has agreed to deliver.

Derrah is a bi-polar freight train whose Rothko ardently, if pompously, lectures to Ken one minute then in his next breath spits out his caustic vitriol toward the very people who buy his paintings either as decorations, as show pieces, or because theyll be worth something someday. Never satisfied that his genius is truly appreciated, he vacillates unpredictably between bombast and depression.

The play verges on greatness with its piercing wit and penetrating look into the artists volatile relationship to his art. But it becomes sidetracked a bit when it tries to paint Rothko as a surrogate father figure to Ken. A highly dramatic monologue that Ken delivers about a tragedy in his early childhood promises to move RED into an even deeper exploration of what drives artists to create the works that they do and to give two lost souls a connection that could open new avenues of expression. Unfortunately, that story arc is never fully pursued, leaving Ken emotionally unscathed by his trauma and rendering him little more than an affable and eager foil for Rothkos sermonizing. There is a nice shift in perspective at the end, however, that suggests the master may have learned something vital from the student.

RED benefits tremendously from taking up residence in the larger Virginia Wimberly Theatre at the Boston Center for the Arts instead of SpeakEasys usual black box, the Roberts Studio Theatre. Designers Cristina Todesco (set), Jeff Adelberg (lights) and Bill Barclay (sound) take full advantage of their expanded space, turning the proscenium stage into a towering industrial loft of bricks, pipes, frosted 10-foot windows, a freight elevator, and functional ropes and pulleys with which Rothkos massive paintings are raised and lowered. Between scenes a translucent scrim with six panes drops in, serving as a window of sorts that allows the audience a glimpse into Rothkos cloistered world. It disappears when each new scene begins, suggesting that the outside world holds no interest for Rothko when he is at work. Sounds of heavy equipment on the street below add to the urgency of what is unfolding above.

RED may be a two-person play, but the SpeakEasy production smartly brings to life the art as well as the artist. Its not only a master class on Mark Rothkos enigmatic paintings. Its also a master class in superlative acting by the estimable Thomas Derrah.

PHOTOS: Thomas Derrah as Mark Rothko; Thomas Derrah and Karl Baker Olson as Ken; Thomas Derrah