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{{more footnotes|date=July 2013}}
{{more footnotes|date=July 2013}}


'''Gary Heidt''' (born [[Houston]], [[Texas]] 1970) is a conceptual artist, experimental poet, musician, librettist, literary agent, and co-founder of Lovesphere, a 67-year performance project initiated in 1996, and more recently, the Perceiver of Sound League.
'''Gary Heidt''' (born [[Houston]], [[Texas]] 1970) is a conceptual artist, experimental poet, musician, librettist, literary agent, and co-founder of Lovesphere, a 67-year performance project initiated in 1996<ref>{{cite web|last1=Young|first1=Beth|title=LoveSphere Comes to Riverhead: An Embroidery of Sound|url=http://www.eastendbeacon.com/2015/03/09/lovesphere-comes-to-riverhead-an-embroidery-of-sound/|website=East End Beacon|accessdate=March 9, 2015}}</ref>, and more recently, the Perceiver of Sound League.


[[File:Gary Heidt at the Knitting Factory in Brooklyn, 1-9-2013.jpeg|thumb|center|700px|Gary Heidt at the Knitting Factory, Brooklyn, January 9, 2013. Photo by Jordan Hollander.]]
[[File:Gary Heidt at the Knitting Factory in Brooklyn, 1-9-2013.jpeg|thumb|center|700px|Gary Heidt at the Knitting Factory, Brooklyn, January 9, 2013. Photo by Jordan Hollander.]]
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At Columbia College he was Station Manager of [[WKCR-FM]] from 1992 to 1993. In 1992 his experimental poem cycle "Moo Goo Gai Pain" was published in D. R. Heiniger's ''Private Arts''.<ref name="ISBN 1-881377-02-4">{{cite journal|last=Heidt|first=Gary|title=Moo Goo Gai Pain|journal=Private Arts|year=1992|issue=7}}</ref> In 1994 he moved to Austin, where produced the Mammals of Zod CD ''Kill The Humans'' which ''Village Voice'' critic Richard Gehr dubbed a "masterpiece."<ref>{{cite news|last=Gehr|first=Richard|newspaper=Village Voice|date=1997-12-23}}</ref> He returned to NYC and started an improvising collective using the name Mammals of Zod; core members included beatboxer Kid Lucky, [[Mem Nahadr]], [[Sabir Mateen]],<ref>{{cite journal|last=Hreha|first=Scott|title=Sax in the City|journal=Signal to Noise|date=Winter 2001|issue=20|page=33}}</ref> [[Daniel Carter (musician)|Daniel Carter]], Lipbone Redding (then known as CitiZen One), Emmallyea Swon-Young, Matthew Heyner (of the [[No Neck Blues Band]]), Gary Miles and Ira Atkins. This group played frequently at clubs in NYC in the late 1990s, including CBGB's, The Cooler, The Continental, ABC No Rio and The Pyramid. Heidt posed shirtless for ''Paper Magazine'''s 1998 "Beautiful People" issue.<ref>{{cite journal|last=Hastreiter|first=Kim|title=A New York Minute|journal=Paper Magazine|date=April 1998}}</ref> During this period Heidt also wrote the columns "From the Priest Factory" and "The Gnostic Eye" which ran in the ''Religious Observer<ref>{{cite journal|last=Heidt|first=Gary|title=From the Priest Factory|journal=The Religious Observer|year=1995–1996|volume=II|issue=3-10}}</ref>'' and its successor, ''Deolog''.
At Columbia College he was Station Manager of [[WKCR-FM]] from 1992 to 1993. In 1992 his experimental poem cycle "Moo Goo Gai Pain" was published in D. R. Heiniger's ''Private Arts''.<ref name="ISBN 1-881377-02-4">{{cite journal|last=Heidt|first=Gary|title=Moo Goo Gai Pain|journal=Private Arts|year=1992|issue=7}}</ref> In 1994 he moved to Austin, where produced the Mammals of Zod CD ''Kill The Humans'' which ''Village Voice'' critic Richard Gehr dubbed a "masterpiece."<ref>{{cite news|last=Gehr|first=Richard|newspaper=Village Voice|date=1997-12-23}}</ref> He returned to NYC and started an improvising collective using the name Mammals of Zod; core members included beatboxer Kid Lucky, [[Mem Nahadr]], [[Sabir Mateen]],<ref>{{cite journal|last=Hreha|first=Scott|title=Sax in the City|journal=Signal to Noise|date=Winter 2001|issue=20|page=33}}</ref> [[Daniel Carter (musician)|Daniel Carter]], Lipbone Redding (then known as CitiZen One), Emmallyea Swon-Young, Matthew Heyner (of the [[No Neck Blues Band]]), Gary Miles and Ira Atkins. This group played frequently at clubs in NYC in the late 1990s, including CBGB's, The Cooler, The Continental, ABC No Rio and The Pyramid. Heidt posed shirtless for ''Paper Magazine'''s 1998 "Beautiful People" issue.<ref>{{cite journal|last=Hastreiter|first=Kim|title=A New York Minute|journal=Paper Magazine|date=April 1998}}</ref> During this period Heidt also wrote the columns "From the Priest Factory" and "The Gnostic Eye" which ran in the ''Religious Observer<ref>{{cite journal|last=Heidt|first=Gary|title=From the Priest Factory|journal=The Religious Observer|year=1995–1996|volume=II|issue=3-10}}</ref>'' and its successor, ''Deolog''.


With CitiZen One and Metal Tiger Technologies, Heidt started the 67-year performance project Lovesphere in 1996 with a 36-hour improvised musical at the Museum of Sound Recording.<ref>{{cite news|last=One|first=CitiZen|newspaper=XLR8 Magazine|date=July 1998}}</ref> Metal Tiger Technologies streamed the entire piece on the Web in a very early implementation of this technology. Four tracks from this event formed the core of the second Mammals of Zod CD, ''L'of.'' "With multi-instrumentalist Gary Heidt as unofficial ringleader, it's an enclave that draws upon improvisation and performance art as a means to promote its socio-musical vision."<ref>{{cite journal|last=Hreha|first=Scott|title=Mammals of Zod|journal=Signal to Noise|date=Summer 2001|issue=22}}</ref>
With CitiZen One and Metal Tiger Technologies, Heidt started the 67-year performance project Lovesphere in 1996 with a 36-hour improvised musical at the Museum of Sound Recording.<ref>{{cite news|last=One|first=CitiZen|newspaper=XLR8 Magazine|date=July 1998}}</ref> Metal Tiger Technologies streamed the entire piece on the Web in a very early implementation of this technology. Four tracks from this event formed the core of the second Mammals of Zod CD, ''L'of.'' "With multi-instrumentalist Gary Heidt as unofficial ringleader, it's an enclave that draws upon improvisation and performance art as a means to promote its socio-musical vision."<ref>{{cite journal|last=Hreha|first=Scott|title=Mammals of Zod|journal=Signal to Noise|date=Summer 2001|issue=22}}</ref> In an interview with the East End Beacon, 'Mr. Heidt describes LoveSphere as “a sphere inscribed in time in an embroidery of sound which can only be witnessed from a higher dimension. However, we can see its stitches.”'<ref>{{cite web|last1=Young|first1=Beth|title=LoveSphere comes to Riverhead: An Embroidery of Sound|url=http://www.eastendbeacon.com/2015/03/09/lovesphere-comes-to-riverhead-an-embroidery-of-sound/|website=East End Beacon|accessdate=March 9, 2015}}</ref>


Heidt wrote three librettos for composer [[Evan Hause]]'s ''Defenstration Trilogy.'' Heidt's "engrossing<ref>{{cite journal|last=Kerner|first=Leighton|journal=Opera News|date=September 2002}}</ref> " script for the second opera, ''Nightingale: The Last Days of James Forrestal'' "reflects, in accurate historical detail, on the political backstage manoeuvres that led to Forrestal's fall and on the dark side of his death....and can be considered a new chapter of its reception."<ref>{{cite journal|last=Dorati|first=Marco|title=Ajax in Bethesda: James Forrestal's American Tragedy|journal=Studi Italiana di Filologia Classica|year=2011|volume=IX|series=II|pages=162–165}}</ref> Poems appeared in ''Intervalsss: The poems and Words of Musicians'' (ed. Steve Dalachinsky) and his first published crossword poem in [[John M. Bennett]]'s ''Lost and Found Times''.<ref>{{cite journal|last=Heidt|first=Gary|journal=Lost and Found Times|date=December 2003|issue=51}}</ref> He worked as a theater administrator for [[Crystal Field]]'s [[Theater for the New City]] and [[Barbara Vann]]'s [[Medicine Show]].
Heidt wrote three librettos for composer [[Evan Hause]]'s ''Defenstration Trilogy.'' Heidt's "engrossing<ref>{{cite journal|last=Kerner|first=Leighton|journal=Opera News|date=September 2002}}</ref> " script for the second opera, ''Nightingale: The Last Days of James Forrestal'' "reflects, in accurate historical detail, on the political backstage manoeuvres that led to Forrestal's fall and on the dark side of his death....and can be considered a new chapter of its reception."<ref>{{cite journal|last=Dorati|first=Marco|title=Ajax in Bethesda: James Forrestal's American Tragedy|journal=Studi Italiana di Filologia Classica|year=2011|volume=IX|series=II|pages=162–165}}</ref> Poems appeared in ''Intervalsss: The poems and Words of Musicians'' (ed. Steve Dalachinsky) and his first published crossword poem in [[John M. Bennett]]'s ''Lost and Found Times''.<ref>{{cite journal|last=Heidt|first=Gary|journal=Lost and Found Times|date=December 2003|issue=51}}</ref> He worked as a theater administrator for [[Crystal Field]]'s [[Theater for the New City]] and [[Barbara Vann]]'s [[Medicine Show]].
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In 2006 Heidt was canonized by the Church of the SubGenius.<ref>{{cite book|author=J R Dobbs|author-link=J. R. "Bob" Dobbs|editor=Ivan Stang|editor-link=Ivan Stang|title=The SubGenius Psychlopedia of Slack: The Bobliographon|year=2006|publisher=Thunder's Mouth Press|location=New York|isbn=1-56025-939-6|page=240}}</ref>
In 2006 Heidt was canonized by the Church of the SubGenius.<ref>{{cite book|author=J R Dobbs|author-link=J. R. "Bob" Dobbs|editor=Ivan Stang|editor-link=Ivan Stang|title=The SubGenius Psychlopedia of Slack: The Bobliographon|year=2006|publisher=Thunder's Mouth Press|location=New York|isbn=1-56025-939-6|page=240}}</ref>


In 2010 ''Fence'' published<ref>{{cite journal|last=Heidt|first=Gary|title=Four Crossword Poems|journal=Fence|date=Winter 2009–2010|volume=12|issue=2}}</ref> four more of his crossword poems, poems that can be read both across and down. Heidt gave a talk on alternate poetic forms in Spring of 2011 at the New York Public Library. In 2013 Infinity's Kitchen published "The Wordsquare," a historical analysis of his predecessors in this art form, including the Formists and their successors the [[Recreational linguistics|recreational linguists]].
In 2010 ''Fence'' published<ref>{{cite journal|last=Heidt|first=Gary|title=Four Crossword Poems|journal=Fence|date=Winter 2009–2010|volume=12|issue=2}}</ref> four more of his crossword poems, poems that can be read both across and down. Heidt gave a talk on alternate poetic forms in Spring of 2011 at the New York Public Library. In 2013 Infinity's Kitchen published "The Wordsquare," a historical analysis of his predecessors in this art form, including the Formists and their successors the [[Recreational linguistics|recreational linguists]]. He showed an exhibit of crossword poems constrained by images at Spirols Gallery in Saugerties, NY in 2015.<ref>{{cite web|last1=Swon-Young|first1=Emmallyea|title=Code Perception|url=http://spirols.com/CodePerception.html|website=Spirols Gallery|accessdate=March 1, 2015}}</ref>


Heidt is a member of NYC band Fist of Kindness, and performs and wrote many of the songs on their three albums, ''The Dead and the Powerless'' (2010), ''Ponderin' with the Fist of Kindness'' (2011), and The ''Thirteen Repentances of the Pistis Sophia'' (2012). Composer [[Noah Creshevsky]] used samples from ''The Dead and the Powerless'' to create his composition "The Kindness of Strangers."<ref>{{cite web|last=Ricci|first=Massimo|title=Rounded with a Sleep|url=http://touchingextremes.wordpress.com/2012/03/15/noah-creshevsky-rounded-with-a-sleep/}}</ref>
Heidt is a member of NYC band Fist of Kindness, and performs and wrote many of the songs on their three albums, ''The Dead and the Powerless'' (2010), ''Ponderin' with the Fist of Kindness'' (2011), and The ''Thirteen Repentances of the Pistis Sophia'' (2012). Fist of Kindness has been described alternately as "an art rock ensemble masquerading as a country western band"<ref>{{cite web|last1=Young|first1=Beth|title=LoveSphere comes to Riverhead: An Embroidery of Sound|url=http://www.eastendbeacon.com/2015/03/09/lovesphere-comes-to-riverhead-an-embroidery-of-sound/|website=East End Beacon|accessdate=March 9, 2015}}</ref> and as "edgy literate Tom Waits-ish alt-country rockers."<ref>{{cite web|website=https://newyorkmusicdaily.wordpress.com/2013/02/27/mar13calendar/|publisher=New York Music Daily|accessdate=February 27, 2013}}</ref> Composer [[Noah Creshevsky]] used samples from ''The Dead and the Powerless'' to create his composition "The Kindness of Strangers."<ref>{{cite web|last=Ricci|first=Massimo|title=Rounded with a Sleep|url=http://touchingextremes.wordpress.com/2012/03/15/noah-creshevsky-rounded-with-a-sleep/}}</ref>


==Tender Buttons==
⚫
With Cassandra Victoria Chopourian, Heidt has been involved in creating performances from [[Gertrude Stein]]'s [[Tender Buttons (book)|Tender Buttons]]. They have performed parts of this opus in London and the sister cities of Leipzig, Germany<ref>{{cite news|last=Georgi|first=Steffen|title=Der Wahn Der Welt|newspaper=Leipzig Volkszeitung|date=8/1/2011}}</ref> and Houston, Texas;<ref>{{cite web|last=Stevenson|first=Bob|title=The Front Row|url=http://www.thefrontrow.org/articles/1322518180-Mildreds-Umbrella-and-Obsidian-Art-Space---Tender-Buttons.html|publisher=KUHA-FM}}</ref> as well as New York City and Jersey City.<ref>{{cite web|last=Hortillosa|first=Summer Dawn|title=Come Together: Van Reipen Collective Takes Collaborative Approach to Theater|url=http://www.jerseycityindependent.com/2013/04/17/come-together-van-reipen-collective-takes-collaborative-approach-to-theater/|publisher=The Jersey City Independent|accessdate=2013-04-17}}</ref> Heidt also composed music for the Van Reipen Collective's ''Shelly's Spherical Journey'',<ref>{{cite news|last=Reich|first=Ronnie|title=One Strange Trip|newspaper=New Jersey Star-Ledger|date=8/5/2012}}</ref> which was first presented as part of Lovesphere 15. TENDER BUTTONS: OBJECTS FOOD ROOMS is scheduled to debut at Theater for the New City in September 2014 on the centennial of the publication of its source text.

⚫
With Cassandra Victoria Chopourian, Heidt started creating performances from [[Gertrude Stein]]'s [[Tender Buttons (book)|Tender Buttons]] in 2010.<ref>{{cite web|last1=Hortillosa|first1=Summer Dawn|title=Jersey City theater group finds meaning, joy in Gertrude Stein's 'Tender Buttons'|url=http://www.nj.com/hudson/index.ssf/2014/09/jersey_city_theater_group_finds_meaning_joy_in_gertrude_steins_tender_buttons.html|website=NJ.com|publisher=The Jersey Journal|accessdate=September 29, 2014 at 8:09 AM}}</ref>. They performed parts of this opus in London and the sister cities of Leipzig, Germany<ref>{{cite news|last=Georgi|first=Steffen|title=Der Wahn Der Welt|newspaper=Leipzig Volkszeitung|date=8/1/2011}}</ref> and Houston, Texas;<ref>{{cite web|last=Stevenson|first=Bob|title=The Front Row|url=http://www.thefrontrow.org/articles/1322518180-Mildreds-Umbrella-and-Obsidian-Art-Space---Tender-Buttons.html|publisher=KUHA-FM}}</ref> as well as New York City and Jersey City.<ref>{{cite web|last=Hortillosa|first=Summer Dawn|title=Come Together: Van Reipen Collective Takes Collaborative Approach to Theater|url=http://www.jerseycityindependent.com/2013/04/17/come-together-van-reipen-collective-takes-collaborative-approach-to-theater/|publisher=The Jersey City Independent|accessdate=2013-04-17}}</ref> Heidt also composed music for the Van Reipen Collective's ''Shelly's Spherical Journey'',<ref>{{cite news|last=Reich|first=Ronnie|title=One Strange Trip|newspaper=New Jersey Star-Ledger|date=8/5/2012}}</ref> which was first presented as part of Lovesphere 15.

TENDER BUTTONS: OBJECTS FOOD ROOMS premeired at Theater for the New City in October 2014 on the centennial of the publication of its source text. The five-hour performance was divided into three parts; Heidt was dramaturg for all three and director of OBJECTS.<ref>{{cite web|last1=Clarke|first1=David|title=Other Voices, Many Rooms|url=http://www.out.com/entertainment/theater-dance/2014/10/02/gertrude-stein-tender-buttons-play-nyc|website=Out.com|publisher=Out|accessdate=October 02 2014 12:35 PM EDT}}</ref> Heidt staged OBJECTS as a comic operetta for 12 performers. OBJECTS was set inside a human aquarium populated by incestuous gentlepeople, a well-trained nursing staff,<ref>{{cite web|title=Gertrude Stein's Influential 'Tender Buttons' Staged|url=http://www.edgenewyork.com/entertainment/theatre/News//164711/gertrude_stein%27s_influential_%27tender_buttons%27_staged|website=Edge New York|publisher=EDGE Publications, Inc.|accessdate=Wednesday Aug 27, 2014}}</ref> an AWOL soldier and his amphibious fiancée.<ref>{{cite web|last1=Stiffler|first1=Scott|title=TENDER BUTTONS: OBJECTS ROOMS FOOD|url=http://www.downtownexpress.com/2014/10/02/just-do-art-week-of-oct-2-2014/|website=Downtown Express|accessdate=October 2, 2014}}</ref> Heidt's treatment of the text emphasized kabbalistic-phenomenological themes<ref>{{cite web|last1=Merwin|first1=Ted|title=Staging Gertrude Stein’s Modernism|url=http://www.thejewishweek.com/arts/theater/staging-gertrude-steins-modernism|website=The Jewish Week|publisher=The Jewish Week|accessdate=10/01/2014}}</ref> and the ongoing exorcism of patriarchy.<ref>{{cite web|last1=Clarke|first1=David|title=Other Voices, Many Rooms|url=http://www.out.com/entertainment/theater-dance/2014/10/02/gertrude-stein-tender-buttons-play-nyc|website=http://www.out.com/entertainment/theater-dance/2014/10/02/gertrude-stein-tender-buttons-play-nyc|publisher=Out.com|accessdate=October 02 2014 12:35 PM EDT}}</ref> Critic Lena Adler claimed that 'aided by the melodious, sometimes folksy, sometimes ambient, and sometimes ecstatic live music (arranged by Fist of Kindness) and the skilled, nuanced, and passionate singing and movement work of the actors, the viewer moves into what is at once a deeper and more vague process of experiencing the performance as it comes at them. This aim, it could be argued, is shared by all devotedly cubist work.'<ref>{{cite web|last1=Adler|first1=Lana|title=Review: Tender Buttons: Objects|url=http://stagebuddy.com/reviews/review-tender-buttons-objects|website=StageBuddy|publisher=StageBuddy|accessdate=December 2014}}</ref> Stein scholar Karren LaLonde Alenier called OBJECTS "a troubadour-like entertainment where... music-making, song-singing, odd choreography kicked my subconscious into another realm."<ref>{{cite web|last1=Alenier|first1=Karren|title=A Cabaret of 'Objects'|url=http://www.scene4.com/archivesqv6/2014/nov-2014/1114/karrenlalondealenier1114.html|website=Scene4,com|publisher=Scene4 Magazine|accessdate=November 2014}}</ref>


==References==
==References==
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* http://www.vanreipen.org/
* http://www.vanreipen.org/
* http://www.youtube.com/garyheidt
* http://www.youtube.com/garyheidt

* Heidt's blog: http://www.conscientious-mythmakers.com/blog/


{{Persondata
{{Persondata

Revision as of 23:18, 11 March 2015

Gary Heidt (born Houston, Texas 1970) is a conceptual artist, experimental poet, musician, librettist, literary agent, and co-founder of Lovesphere, a 67-year performance project initiated in 1996[1], and more recently, the Perceiver of Sound League.

Gary Heidt at the Knitting Factory, Brooklyn, January 9, 2013. Photo by Jordan Hollander.

Biography and Career

Heidt was born in Houston, Texas. From 1986 to 1988 he was lead singer for Devil Donkey, which also included Susie Ibarra (drums), Erik Amlee (guitar) and Enrique Gualberto Ramirez (bass). In 1991 he cofounded the Mammals of Zod with Raymond Seraphim Porter, Scott Wilcox and Chris Grace.[citation needed]

At Columbia College he was Station Manager of WKCR-FM from 1992 to 1993. In 1992 his experimental poem cycle "Moo Goo Gai Pain" was published in D. R. Heiniger's Private Arts.[2] In 1994 he moved to Austin, where produced the Mammals of Zod CD Kill The Humans which Village Voice critic Richard Gehr dubbed a "masterpiece."[3] He returned to NYC and started an improvising collective using the name Mammals of Zod; core members included beatboxer Kid Lucky, Mem Nahadr, Sabir Mateen,[4] Daniel Carter, Lipbone Redding (then known as CitiZen One), Emmallyea Swon-Young, Matthew Heyner (of the No Neck Blues Band), Gary Miles and Ira Atkins. This group played frequently at clubs in NYC in the late 1990s, including CBGB's, The Cooler, The Continental, ABC No Rio and The Pyramid. Heidt posed shirtless for Paper Magazine's 1998 "Beautiful People" issue.[5] During this period Heidt also wrote the columns "From the Priest Factory" and "The Gnostic Eye" which ran in the Religious Observer[6] and its successor, Deolog.

With CitiZen One and Metal Tiger Technologies, Heidt started the 67-year performance project Lovesphere in 1996 with a 36-hour improvised musical at the Museum of Sound Recording.[7] Metal Tiger Technologies streamed the entire piece on the Web in a very early implementation of this technology. Four tracks from this event formed the core of the second Mammals of Zod CD, L'of. "With multi-instrumentalist Gary Heidt as unofficial ringleader, it's an enclave that draws upon improvisation and performance art as a means to promote its socio-musical vision."[8] In an interview with the East End Beacon, 'Mr. Heidt describes LoveSphere as “a sphere inscribed in time in an embroidery of sound which can only be witnessed from a higher dimension. However, we can see its stitches.”'[9]

Heidt wrote three librettos for composer Evan Hause's Defenstration Trilogy. Heidt's "engrossing[10] " script for the second opera, Nightingale: The Last Days of James Forrestal "reflects, in accurate historical detail, on the political backstage manoeuvres that led to Forrestal's fall and on the dark side of his death....and can be considered a new chapter of its reception."[11] Poems appeared in Intervalsss: The poems and Words of Musicians (ed. Steve Dalachinsky) and his first published crossword poem in John M. Bennett's Lost and Found Times.[12] He worked as a theater administrator for Crystal Field's Theater for the New City and Barbara Vann's Medicine Show.

In 2003 he joined Imprint Agency, a literary agency in New York City. After a stint at Peter Rubie's FinePrint Literary Agency he started Signature Literary Agency with Ellen Pepus. He represents the Church of the SubGenius, Charles Yu, Benjamin Whitmer, Jeremy Bushnell, William Gillespie, Rob Klara, Jason Henderson and Chris Carter among others.

From 2003 to 2005 Lovesphere presented musical theater, which Heidt cowrote with Gary Miles, Nathan Metz et al., including "Feng Shui Assassin."[13]

In 2006 Heidt was canonized by the Church of the SubGenius.[14]

In 2010 Fence published[15] four more of his crossword poems, poems that can be read both across and down. Heidt gave a talk on alternate poetic forms in Spring of 2011 at the New York Public Library. In 2013 Infinity's Kitchen published "The Wordsquare," a historical analysis of his predecessors in this art form, including the Formists and their successors the recreational linguists. He showed an exhibit of crossword poems constrained by images at Spirols Gallery in Saugerties, NY in 2015.[16]

Heidt is a member of NYC band Fist of Kindness, and performs and wrote many of the songs on their three albums, The Dead and the Powerless (2010), Ponderin' with the Fist of Kindness (2011), and The Thirteen Repentances of the Pistis Sophia (2012). Fist of Kindness has been described alternately as "an art rock ensemble masquerading as a country western band"[17] and as "edgy literate Tom Waits-ish alt-country rockers."[18] Composer Noah Creshevsky used samples from The Dead and the Powerless to create his composition "The Kindness of Strangers."[19]

Tender Buttons

With Cassandra Victoria Chopourian, Heidt started creating performances from Gertrude Stein's Tender Buttons in 2010.[20]. They performed parts of this opus in London and the sister cities of Leipzig, Germany[21] and Houston, Texas;[22] as well as New York City and Jersey City.[23] Heidt also composed music for the Van Reipen Collective's Shelly's Spherical Journey,[24] which was first presented as part of Lovesphere 15.

TENDER BUTTONS: OBJECTS FOOD ROOMS premeired at Theater for the New City in October 2014 on the centennial of the publication of its source text. The five-hour performance was divided into three parts; Heidt was dramaturg for all three and director of OBJECTS.[25] Heidt staged OBJECTS as a comic operetta for 12 performers. OBJECTS was set inside a human aquarium populated by incestuous gentlepeople, a well-trained nursing staff,[26] an AWOL soldier and his amphibious fiancée.[27] Heidt's treatment of the text emphasized kabbalistic-phenomenological themes[28] and the ongoing exorcism of patriarchy.[29] Critic Lena Adler claimed that 'aided by the melodious, sometimes folksy, sometimes ambient, and sometimes ecstatic live music (arranged by Fist of Kindness) and the skilled, nuanced, and passionate singing and movement work of the actors, the viewer moves into what is at once a deeper and more vague process of experiencing the performance as it comes at them. This aim, it could be argued, is shared by all devotedly cubist work.'[30] Stein scholar Karren LaLonde Alenier called OBJECTS "a troubadour-like entertainment where... music-making, song-singing, odd choreography kicked my subconscious into another realm."[31]

References

  1. ^ Young, Beth. "LoveSphere Comes to Riverhead: An Embroidery of Sound". East End Beacon. Retrieved March 9, 2015.
  2. ^ Heidt, Gary (1992). "Moo Goo Gai Pain". Private Arts (7).
  3. ^ Gehr, Richard (1997-12-23). Village Voice. {{cite news}}: Missing or empty |title= (help)
  4. ^ Hreha, Scott (Winter 2001). "Sax in the City". Signal to Noise (20): 33.
  5. ^ Hastreiter, Kim (April 1998). "A New York Minute". Paper Magazine.
  6. ^ Heidt, Gary (1995–1996). "From the Priest Factory". The Religious Observer. II (3–10).
  7. ^ One, CitiZen (July 1998). XLR8 Magazine. {{cite news}}: Missing or empty |title= (help)
  8. ^ Hreha, Scott (Summer 2001). "Mammals of Zod". Signal to Noise (22).
  9. ^ Young, Beth. "LoveSphere comes to Riverhead: An Embroidery of Sound". East End Beacon. Retrieved March 9, 2015.
  10. ^ Kerner, Leighton (September 2002). Opera News. {{cite journal}}: Missing or empty |title= (help)
  11. ^ Dorati, Marco (2011). "Ajax in Bethesda: James Forrestal's American Tragedy". Studi Italiana di Filologia Classica. II. IX: 162–165.
  12. ^ Heidt, Gary (December 2003). Lost and Found Times (51). {{cite journal}}: Missing or empty |title= (help)
  13. ^ Anna Jane, Grossman (2003-3-3). "The Feng's the Thing". New York Observer. {{cite news}}: Check date values in: |date= (help)
  14. ^ J R Dobbs (2006). Ivan Stang (ed.). The SubGenius Psychlopedia of Slack: The Bobliographon. New York: Thunder's Mouth Press. p. 240. ISBN 1-56025-939-6.
  15. ^ Heidt, Gary (Winter 2009–2010). "Four Crossword Poems". Fence. 12 (2).
  16. ^ Swon-Young, Emmallyea. "Code Perception". Spirols Gallery. Retrieved March 1, 2015.
  17. ^ Young, Beth. "LoveSphere comes to Riverhead: An Embroidery of Sound". East End Beacon. Retrieved March 9, 2015.
  18. ^ https://newyorkmusicdaily.wordpress.com/2013/02/27/mar13calendar/. New York Music Daily. {{cite web}}: |access-date= requires |url= (help); External link in |website= (help); Missing or empty |title= (help); Missing or empty |url= (help)
  19. ^ Ricci, Massimo. "Rounded with a Sleep".
  20. ^ Hortillosa, Summer Dawn. "Jersey City theater group finds meaning, joy in Gertrude Stein's 'Tender Buttons'". NJ.com. The Jersey Journal. Retrieved September 29, 2014 at 8:09 AM. {{cite web}}: Check date values in: |accessdate= (help)
  21. ^ Georgi, Steffen (8/1/2011). "Der Wahn Der Welt". Leipzig Volkszeitung. {{cite news}}: Check date values in: |date= (help)
  22. ^ Stevenson, Bob. "The Front Row". KUHA-FM.
  23. ^ Hortillosa, Summer Dawn. "Come Together: Van Reipen Collective Takes Collaborative Approach to Theater". The Jersey City Independent. Retrieved 2013-04-17.
  24. ^ Reich, Ronnie (8/5/2012). "One Strange Trip". New Jersey Star-Ledger. {{cite news}}: Check date values in: |date= (help)
  25. ^ Clarke, David. "Other Voices, Many Rooms". Out.com. Out. Retrieved October 02 2014 12:35 PM EDT. {{cite web}}: Check date values in: |accessdate= (help)
  26. ^ "Gertrude Stein's Influential 'Tender Buttons' Staged". Edge New York. EDGE Publications, Inc. Retrieved Wednesday Aug 27, 2014. {{cite web}}: Check date values in: |accessdate= (help)
  27. ^ Stiffler, Scott. "TENDER BUTTONS: OBJECTS ROOMS FOOD". Downtown Express. Retrieved October 2, 2014. {{cite web}}: no-break space character in |title= at position 16 (help)
  28. ^ Merwin, Ted. "Staging Gertrude Stein's Modernism". The Jewish Week. The Jewish Week. Retrieved 10/01/2014. {{cite web}}: Check date values in: |accessdate= (help)
  29. ^ Clarke, David. "Other Voices, Many Rooms". http://www.out.com/entertainment/theater-dance/2014/10/02/gertrude-stein-tender-buttons-play-nyc. Out.com. Retrieved October 02 2014 12:35 PM EDT. {{cite web}}: Check date values in: |accessdate= (help); External link in |website= (help)
  30. ^ Adler, Lana. "Review: Tender Buttons: Objects". StageBuddy. StageBuddy. Retrieved December 2014. {{cite web}}: Check date values in: |accessdate= (help)
  31. ^ Alenier, Karren. "A Cabaret of 'Objects'". Scene4,com. Scene4 Magazine. Retrieved November 2014. {{cite web}}: Check date values in: |accessdate= (help)


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