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The songs are why most people are coming speed dating chicago yelp chicagoist a glamorous downtown night out and they are performed with style, panache and elegant choreography from Patricia Wilcox and Warren Adams, often a precise re-creation of signature Motown moves. As far as I can tell, the script has would you like to online dating changed in any meaningful way speed dating chicago yelp chicagoist the Broadway production. It still sometimes fights the song. With barely any breathing time, the story of Motown spins out in roughly chronological chicaglist here, as sped of social history are dealt with even more quickly sometimes cartoonishly via bits of archival video. Those who simply want to be reminded of their favorite singers might find this express thrill ride into pop music heaven a virtue. Gordy's Gordy is a wholesome hustler who works too hard, gives too much, and practices an if-you-love-it-set-it-free philosophy when the musicians he's nurtured "like a father" move on to bigger labels.
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It's open to the public six days a week, but maybe you haven't yet made your way there yet. To date, his work has only been released via two records on the Berlin-based label Pan , and it's very in keeping with that label's stylishly packaged but recklessly experimental aesthetic. Hoff works with malware and computer viruses, injecting them into conventional dance music structures to create disruptions, distortions, and jittering fragmentation to conventional beats, editing and pasting them into song-like sequences to beautifully woozy effect.
Fans of Autechre, Pan Sonic, and other such rhythmically adventurous electronic music will find a new thrill in Hoff's virus-damaged beatworld. Tickets are free with RSVP. If you want to get there earlier or make a day of it, Hoff will also be hosting a talk at 2: The songs are why most people are coming for a glamorous downtown night out and they are performed with style, panache and elegant choreography from Patricia Wilcox and Warren Adams, often a precise re-creation of signature Motown moves.
As far as I can tell, the script has not changed in any meaningful way from the Broadway production. It still sometimes fights the song. With barely any breathing time, the story of Motown spins out in roughly chronological order here, as moments of social history are dealt with even more quickly sometimes cartoonishly via bits of archival video.
Those who simply want to be reminded of their favorite singers might find this express thrill ride into pop music heaven a virtue. Gordy's Gordy is a wholesome hustler who works too hard, gives too much, and practices an if-you-love-it-set-it-free philosophy when the musicians he's nurtured "like a father" move on to bigger labels.
In short, don't expect any intense self-scrutiny here. What you can expect is a whole lot of hits from the absurdly great catalog Gordy developed with ridiculously talented artists like Smokey Robinson, Stevie Wonder, and Marvin Gaye.
Ethan Popp's arrangements all tend to end the same way. But the singing and choreography in Charles Randolph-Wright's two-and-a-half-hour touring production are exhilarating. Chicagoan Allison Semmes is something special as Diana Ross.