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Roulette’s Fall 2016 Season Our 39th Season highlights again the commitment to hope that every artist makes for us all. Each performance is a portal into greater insight of ourselves, a deeper connection with our humanity and our understanding of each other. These artists, whether they have been making work for a few years or for a few decades, have committed their lives to sharing this work with us and I would urge all of you to take advantage of the generous gifts that they will present us with this season. —Jim Staley, Artistic Director Summer is an excellent time for Roulette to regroup, redefine and re-affirm our commitment to presenting experimental art through our initiatives. This summer we’ve been busy. We rolled out a brand new website where you can explore various facets of our programming season — Music! Dance! Intermedia! International! — plus Roulette TV, which, in the last few months broke the 100-episode mark. Our site now also features a Blogcast, a virtual social space where we will post artist interviews, teaser videos and audio and photo throwbacks to our archive (which is also undergoing its own radical renovation!). All of this “newness” also inspired the new format of our Season Program. For this inaugural edition, Meredith Monk speaks about her first foray into curation, journalist Kurt Gottschalk and composer Glenn Branca talk downtown art and David Bowie, and Mia Wendel-DiLallo of Clocktower Radio dives deep with Victoria Keddie of E.S.P. TV about her new multimedia festival, Optics 0:0. In a second article, Mia and thereminist Dorit Chrysler discuss Dame Electric, Suzanne Ciani, and her love for the early Russian-created electronic instrument. Lastly, and most importantly, you’ll notice that our website, program, and flyers boast a refreshed logo. Now, six years into our tenure in Brooklyn, Roulette has become much more than a listening theater – we are a space to see, feel, savor the art. To echo Jim’s words, the artists presented at Roulette give our audiences a visceral experience. We hope that you come away from Roulette with a sense of bridging the old with the new… and always adventurous. 3

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$1,000-4,999 Anonymous Bruce Andrews The Arts Council of the Southern Finger Lakes Dr. Rajendra K. Bansal The Robert D. Bielecki Foundation Sean Buffington Jeffrey Cranor & Jillian Sweeney The Alice M. Ditson Fund of Columbia University Anne Hemenway Investors Bank Foundation

The East Bay Community Foundation Selvage Fund Edward Haber Johanna Lessinger Mark Mallek & Sheila Lavu Mallek Geoff Matters William & Patricia Parker Carlota Schoolman Drew Pisarra in honor of Gertrude Stein and Jean Genet Henry Threadgill $250-499 Anonymous Maria Arias David Auerbach Judy Balos

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Stephen Case

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Harold Hagopian / Traditional Crossroads

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Fast Forward

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Yoshi Wada Michael Washburn & Nancy Carmichael David Watson Philipp Weis David Weller

Adam Shatz Frances Shaw Howard Shih Lisa Shimamura Phillip Shipman Sally Silvers Elisabeth Skjaervold Robert Sloan Howie Smith Leigh Smith Thomas Sneeringer Judith Solomon A Holly Sphar


Glenn Branca Writer Kurt Gottschalk sits down with Legendary Experimentalguitarist Glenn Branca to talk about his premiere The Light (For David), a new work written for David Bowie, which will preimere at Roulette on October 8th. KG: Your relationship with the electric guitar is well-known, from the twin guitars of Theoretical Girls in the late 70s to works for 100-guitar orchestras. For your appearance at Roulette, you’ve composed for four electric guitars along with bass and drums. How do you determine the shape of an ensemble for a given project? GB: I had decided that if I was going to continue The Ascension project I would use the same instrumentation in all of them, although the tunings are different. In recent decades my symphonies for guitar ensemble are usually eight or nine guitars, bass and drums. Anything bigger is too expensive to tour. There are also the two symphonies for 100 guitars but they are always one-offs. I get the guitarists from whatever city we’re playing in. So far it’s worked out incredibly well but takes a lot of time online with the musicians since the scores are always in different tunings and in staff notation. KG: Do you have a way of notating the particular sonic properties of the electric guitar, such as feedback and overtone, or are those decisions communicated verbally or left to the individual players? GB: I don’t notate the sonic properties of the guitar. The pieces are written the same as I would write for any instrumentation. The sonic quality of the guitar speaks for itself, although I like to use an overdriven sound with no effects of any kind. This is the kind of sound I’ve used since the late 70s when I was doing rock bands. In the 80s, when I was working with a harmonic series tuning system, it was often a mistaken conception that I was working with overtones. The overtones are there, of course, but I was interested in the nature of sound produced by the harmonic series itself, or what is in fact the series of natural numbers. KG: The Light (for David), which will receive its premiere at Roulette, is dedicated to David Bowie. When did you first start listening to Bowie’s music. What has it meant to you over the years? GB: I first heard Bowie in the late 60s when Space Oddity would be played on FM stations. I thought it was great but I didn’t know who it was at the time. Later, in the early 70s when I was working in a record store, I came across Hunky Dory and was totally knocked out. I started looking for anything by him that 6

I could find. I found The Man Who Sold the World in a bargain bin. Worst production ever. They’ve fixed the mix and the master at this point, after [Kurt] Cobain covered the title song. Then Ziggy, of course, and I was hooked. There were a few avant-garde bands that had some pop success, but nothing like Bowie. He was our hero. Intelligent, talented and with the desire to create a really new, different rock. It was important at that time for us (the avant-gardists) to have someone who spoke our language actually be heard on the radio. And of course he was beautiful and clever and compelling. KG: Did you ever have a chance to meet or work with him? GB: Yes, Tony Oursler was doing an installation for a German world’s fair in, I think, 2001. I was invited to write the music and Tony wrote the text which Bowie read and was played back on multiple channels. Tony had worked with Bowie a lot, doing video for him I believe. During the work on this gig, I got to hang out with David twice. One surprise was that we were both book collectors. He was really excited about a book he had just bought for $50,000. This was literally a few days after his company had gone public and he had made $50 million in one day. It was hard for him to think about anything else. He was over the moon. Just proved to me that rock stars don’t make anywhere near as much money as people thought. Of course, they don’t make anything now unless they’re tits-out superstars. I had a very strange “relationship” with David over the years that started in the early 80s when his office called my record label, Neutral, for the purpose of getting a copy of every record in the catalog. For almost 20 years I would get a call about every couple years from someone who was trying to get us together for some purpose: collaborate, play on the same bill, always something. One time I heard he had played the entirety 7

of my Symphony No. 6 for the audience before he come out to do a show in Europe. Another time I heard from one of the engineers on the Tin Machine sessions that he had brought in about six or seven of my records and told the engineer “Make it sound like this.” Stuff like that was always happening. He died too soon, he was only a year older than me. I was shocked, just like everybody else. And with the release of his brilliant Black Star, I couldn’t stop listening to it. I hadn’t realized how much he had meant to me throughout most of my life and that album broke my heart. I still can’t believe he’s just gone. It affected me even more than Lennon. I think that somehow knowing that he was here, in my case literally right down the street, was like having a muse. I don’t know what else to say. It hurts. KG: Bowie worked with a remarkable succession of guitarists, from Mick Ronson and Carlos Alomar to Earl Slick, Adrian Belew and Reeves Gabrels not to mention recordings with Robert Fripp and David Torn. Is there something about Bowie’s use of guitar that speaks to you in particular? GB: That’s a tough one to answer since most of that playing was part of a very distant past. I loved Mick Ronson at the time. There were few players getting that kind of sound. I was never into metal and found guys like Glen Buxton, Joe Perry and Johnny Thunders to be more what I wanted to hear. Ronson was one of the first, along with Mark Bolan. I think every single one of the guys you mentioned did a great job with Bowie’s music. And Reeves Gabrels could do anything. I think that’s why Bowie got him. His work on Outside was amazing. And of course there was Fripp, never a favorite, but what he did on Heroes was moving. It made the song. These were guys that I loved to listen to, among many others. But as a composer my approach had almost nothing to do with any of them or anyone else for that matter. I wanted to do serious experimental rock and that sound, that approach, wasn’t gonna work. I liked to fool around with it very early on but the music was the priority. When Theoretical Girls and the Static started pushing the parameters, the audience just got bigger and bigger. After a very short time it became clear that this was going to be my work. It’s never really been about the guitars. They just happened to be what was convenient. And as things have turned out they still are, although there’s far more I’d like to do. I’d really like to create an entire orchestra with mostly instruments that I create myself. But such things are far beyond my means. KG: What’s coming up next for you? GB: Death? I wouldn’t mind having Symphony No. 16, my second 100 guitar piece, heard in NYC, and maybe even properly recorded. 8


DAME ELECTRIC BY MIA WENDEL-DILALLO Organizer of the September 14, 2016 Dame Electric festival, Dorit Chrysler is perhaps best known as a virtuoso theremin player (or “theremin goddess,” if you will.) She has placed a spotlight on the often-sidelined instrument in her own mesmerizing performances, and through the projects she helms such as the New York Theremin Society and KidCoolThereminSchool. In honor of her one-day festival, Roulette had the pleasure of asking Dorit about her history in the musical world, how she happened upon the forlorn theremin, and what led her to the empowering line-up of Dame Electric. MWD: What is the motivation behind the Dame Electric festival? DC: I wanted to see strong, hands-on females operating analog synthesizer machines and producing their own original sounds on stage. Not surprisingly, there are many women represented in the field of analog synthesis, but they are not featured and celebrated often enough. Headliner and pioneer legend Suzanne Ciani’s story is a good example of her struggle in a male dominated field, and to 10

this day not enough women are building their own hardware such as Antenes. I saw Suzanne Ciani perform at Namm Fair two years ago. The day featured a list of several performers, but Suzanne stood out like a gleaming light, connecting with the Diodes in such a personal, unassuming, professional, and extraordinary musical way. Her performance and craft inspired the idea for “Dame Electric” and we are so thrilled to bring her to New York and to have her headline the festival at Roulette. It turns out, she has not performed a solo concert on her Buchla here since 1975! Congruently, Suzanne has a documentary coming out about her life — a fascinating story about what it is like to be a woman in this new field of a maledominated analog and synth world. As part of the Dame Electric festival, there will also be a short preview of the upcoming film, to be screened at the Austrian Cultural Forum on Tuesday, September 13th. Antenes and Electric Indigo will collaborate for the first time together, opening for Suzanne Ciani at Dame Electric. Antenes (Lori Napoleon), builds her own synthesizers inspired by outmoded technologies, including using old patch telephones in her work. Electric indigo is an Austrian performer working with granular synthesis. She has founded an internationally growing network called female:pressure, that collects statistics of representation of woman in electronic music. They will also hold workshops on synth building and granular synthesis at Pioneer Works on September 17th. While thinking about the festival, I kept in mind the idea of nurturing the community. So, I paired Austrian artists, that are flown in for the festival, with local artists. Each will collaborate with a chosen partner, featuring premieres of new works that leave comfort zones and push boundaries. MWD: Can you talk about performing at a young age and how you got started? DC: I was a child performer. I have been on the stage since the age of seven at the local opera house in my Austrian hometown. The colorful world of props and drama, orchestra and ballet, and paper-maché and stucco, was all so exciting and inspiring to me. At the age of ten I sang twelve tone music by Alban Berg with a fake hunchback on by back in Woyzeek — who would not want to be a musician/performer after that? MWD: How did you discover the theremin? DC: I was in New York playing guitar and singing in a band called Halcion. A friend of mine, Lary 7, has a wild collection of assorted analog instruments at his house, and he took me to a corner where a theremin stood, that he was repairing and he demonstrated it to me. It was a life-changing experience and I can’t thank him enough for introducing me to this instrument. I felt the theremin deserved much more attention than it had previously gotten. I had studied 11

musicology and was intrigued by its odd history and status in the pantheon of musical instruments. It was a challenge to explore the theremin and to see what it was capable of. MWD: What is the “odd history” of the theremin? DC: Léon Theremin invented the TermenVox in 1919. It was the first electric music instrument featuring a unique new interface that allowed it to be played without touching anything — waving hands in electromagnetic fields based on the heterodyne system. Theremin was a prodigy of Lenin, and the termenvox fit perfectly into the Russian Revolution, and was even featured in several soundtracks for promotional movies. Theremin was sent on tour to represent Russian technical accomplishments across the globe. After touring in Europe, he settled in New York. His theremin patent was produced by RCA, and the instruments were promoted as easy to play at home —which was of course proved wrong. Production had also gone quickly into debt after the market crashed. Theremin himself married Lavinia Williams, one of the members of the first African-American ballet troupe in New York. Then, all of a sudden, he disappeared one day. Maybe he was kidnapped by the KGB, or maybe he returned to Russia voluntarily. He ended up working in a secret science prison camp where he developed the brand new technology of listening devices, the BUG, to be installed in a seal that hung behind the desk of the American ambassador in Moscow. This allowed the Russians to listen in to conversations until the British discovered a signal — this very seal was held up at a meeting at the UN when the Cold War was declared. Theremin’s absence in the U.S. stopped the growing popularity of the instruments and efforts of contemporary composers writing for it. Some popularity occurred in the 1950s, when Hollywood used its signature sounds for horror and suspense themes such as The Day the Earth Stood Still or Hitchcock’s Spellbound. To this day the theremin is still gravely underestimated as a musical instrument and has not been able to establish itself in either popular or classical music. Due to its unusual interface, that differs gravely with traditional sound production, a theremin is not easy to play, and whoever has witnessed a theremin producing noise might think that this is all it can do. Platforms such as the NY Theremin Society and KidCoolThereminSchool (which I founded) help the instrument find greater popularity. MWD: What do you love most about working with the theremin? DC: What keeps me engaged with this unique device is its extraordinary dynamic capacity — unparalleled by any other music instrument. You enter micro-space and learn more about your own body, just by playing. It’s physicality is revealed through the slightest movement of your hand. You can literally sculpt the notes with your own hands, shaping sound this way. I love this primal directness of motion and sound, its drama and the ultimate challenge of attempting to control it — that impossibility appeals to me! It’s like fighting windmills... 12

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Curated by Meredith Monk

THIS IS MY MAIDEN VOYAGE AS A CURATOR. What it has made me realize is how many remarkable artists that I know or am aware of. For this series, I have chosen composer/performers whose work I have admired over the years. I am grateful to Roulette for the opportunity to present their work to you. There is no commonality of style or sensibility in the group but what they share is that each person is following his or her own path, asking questions, finding places that fall between the cracks of genres or categories. There is an inclusiveness and a weaving together of elements that lead to the discovery of new worlds. There is no discrepancy or polarization of high art/low art, electronic/acoustic music, ritual/dance, jazz/classical, abstract/ personal. Anything is possible; nothing is taken for granted. Freedom of the imagination, authenticity and liveliness are part and parcel of each artist’s work. I hope that you enjoy the adventure of these concerts. - Meredith Monk 14

David Behrman’s Reinventions Thursday, October 13, 2016 @ 8:00 pm

Theo Bleckmann’s Hello Earth! The Music of Kate Bush Saturday, November 26, 2016 @ 8:00 pm

Missy Mazzoli // GABI Thursday, December 1, 2016 @ 8:00 pm



By Mia Wendel-DiLallo Archivist of the unexpected; Documentarian of energy; Emissary of the omniscient; Steward of experimenters. — It is hard to imagine that these divergent and elusive nomenclatures could describe a single person. Yet Victoria Keddie encapsulates these (and many more) titles, and assumes each with the precision of a scientist, the imagination of an artist, and the curiosity of an explorer. For fall 2016, Victoria has been invited by Roulette director Jim Staley to organize a video-based festival that approaches the medium in a new way, excavating what is going on in experimental video right now. The festival is multi-day, running from November 2 - 4, and will return in the fall of 2017 to explore timely topics in video composition. For the November 2016 iteration, Victoria has divided the festival into three days, under the titles: Parallax View; TV EYE; and Encoder/Decoder. In Parallax View, Victoria presents artists who use synthetic space and fantastical architectural environments, and who engage in building and creating elaborate worlds. It features Jeremy Couillard, who premiers his virtual reality game which begins at the last ten minutes of your life, and includes audience engagement in this sinister activity. Victoria brings Canadian artist Sabrina RattÊ to New York, for a live video performance of her architectural mapping projections which depict an entirely imagined universe. TV EYE features artists 16

using different signatures of televisual practice, including explorations of their involvement with a live audience, camera play, seriality, and timing. The evening includes a screening component as well as live performance. Encoder/Decoder, presents artists whose process takes precedence over the product, in a night of live performances delving into signalbased works for sound as well as video. These artists work with restrictive systems using algorithms or a series of rules and constraints to produce the piece. This project is a culmination of Victoria’s unique audio visual explorations. Sound is at the start of her creative process, and it is through sound that her projects in video, choreography, and curation are realized and become compositions unto themselves. Creating and stressing these points of contact, or “dialogue” as Victoria puts it, between sound and other art forms is an essential part of her work. While sound is a foundational constant to her practice, she puts the stability of it to the test again and again, probing the outer limits of its ability, the depth of its uncertainty and, as a self proclaimed mediator, strives not only to forge but to reveal the breaking point of the bonds. In Victoria’s Aelita (2014) a single channel video piece dedicated to the Queen of Mars, she seeks the fallibility of repetition in a live session recording of balanced sound and video waves. Exploring the point just before the signal collapses, she works to “show and expose, these moments right before something gets pulled away.” It is these moments of collapse she finds the most beautiful and in “trying to pick up on signals and interference, unknown interference, discontinuities of sound...That’s where the mystery of it is.” Victoria began her trajectory studying the preservation and archiving of the moving image, but turned instead to the collection and documentation of sound artifacts. From there, her work branched off into an inquiry of the term “media” — how to collect and record radio, sound experiments, and video work. From an archivist standpoint, Victoria sees analog machinery as key in the presentation of sound and video because of its relationship to electromagnetic signal. Analog works by “pushing and pulling at the signal in a kind of language structure” through which Victoria can develop her own language. She finds this language of the electromagnetic compelling because “we exist in a magnetic field, we ourselves have that energy, we are conduits….It is directly linked to how we exist and what we exist in.” And, she says, it is paramount to “work with machinery that is geared to vocalizing that or visualizing that, or trying to communicate it.” This is what she calls a “close language” that is laid open in her work, either for interpretation or obfuscation. That dialogue takes into consideration “how the room I am in also participates in this, as well as what my body is doing and how much the choreography of my body is interacting with the machines I use.” 17

Further explorations of the human relationship to machines can be seen in her performance piece Headbanger (2015), which explores complex questions such as: What are the primordial rhythms we find even in states of complete repose? What are the breaking points of these states? What is the machine that documents us? Who mothers us through all of this? Headbanger involved a visual score, a visualized sound recording, a fabricated stainless steel sculpture, and a live performance. The performance was focused around a sleep related rhythmic movement disorder, referred to as “headbanging,” in which the patient repeatedly and forcibly bangs or slams their head while sleeping. There is a “violent percussion,” as Victoria calls it, in this repetitive motion, documented by a polygraph unit, and translated by observers of the machine’s results. Victoria became transfixed with the “strange artifact and presence of the machine,” which in another sense is the “translation of the unconscious state.” In the same way that we wonder why we remember certain dreams, Victoria wanted to expose the complexities of why we retain a quasi-rhythmic structure while in sleep and what it means for the conscious, waking world. “The machine” figures strongly in her projects as the conveyor of the “omnipresent authorship” of a controlled situation. Her works in surveillance, in particular, touch on the unseen narrative. In Victoria’s Cannibal Méchanique installation she coordinated machine play, live sound, and larger-scale choreography to determine how we can communicate and understand movement. Historically, the viewer watches these actions through a single lens, stationed solidly at one angle of the room, which loses the experience of the dancers, the energy of the performance, and the shape of the space. Following the typical example of museum surveillance, Victoria multiplied the cameras in the room so that “you were seeing what was perhaps, invisible” and were, furthermore, able to witness a once invisible presence watching and recording. It is easy to conclude that these themes of surveillance are allusions to the government, to being constantly watched without our knowledge and without our permission. Surveillance, with Victoria, resists these tropes, setting aside the “big-brother” presence, and focusing on the allseeing, omnipresent author. Her focus is to highlight “something already present that I’m tapping into.” The concealed hand has been made obvious, although not entirely explained. Ominous, sinister, expansive, and strange, you move through Victoria’s work, whether it be a dance performance, video festival, or a visualized soundscape, with the sense of Another. Moving her hands like a puppeteer, she refers to the great “author,” whom one can imagine shifting time and space without the weight of moral obligations. Although she insists that she is not personally this omnipotent presence, you cannot help but see a majestic reflexivity in Victoria Keddie’s orchestrations of sound, video, and performance. 18


Roulette TV, the online and broadcast program of experimental performances, is made possible, in part, with funds from the New York City Department of Cultural Affairs, the New York State Council on the Arts and the New York Community Trust. 19

Roulette Fall 2016 Season Calendar Resonant Bodies Festival: Julia Bullock, Alice Teyssier (with The Atelier), Sofia Jernberg Tuesday September 6, 8:00 PM, $20/15 Online $25/20 Doors

Resonant Bodies Festival: Abigail Fischer, Peter Tantsits, Dashon Burton Wednesday September 7, 8:00 PM $20/15 Online $25/20 Doors

Resonant Bodies Festival: Frauke Aulbert, Sophia Burgos, Charlotte Mundy (with TAK) Thursday September 8, 8:00 PM, $20/15 Online $25/20 Doors

Damon Smith, Alvin Fiedler, Joe McPhee Trio Tuesday September 13 8:00 PM, $20/15 Online $25/20 Doors

ACFNY & Dame Electric Present: Suzanne Ciani, E. Indigo & Antenes

Wednesday September 14, 8:00 PM, $20/15 Online $25/20 Doors 20

Elliott Sharp’s Vivarium

Thursday September 15, 8:00 PM, $20/15 Online $25/20 Doors

Ikue Mori: Pomegranate Seed // World Premiere of Obelisk

Friday September 16, 8:00 PM, $20/15 Online $25/20 Doors

Ned Rothenburg’s 60th Birthday Celebration: A Benefit for Roulette Sunday September 18, 7:00 PM, $20/15 Online $25/20 Doors $60 Benefit Ticket

Interpretations: Kevin Norton // Sarah Weaver Thursday September 22, 8:00 PM, $20/15

Matt Lavelle and the 12 Houses Orchestra Sunday September 25, 8:00 PM, $20/15 Online $25/20 Doors

[DANCEROULETTE] Elke Rindfleisch: Horsepower

Tuesday September 27, 8:00 PM, $20/15 Online $25/20 Doors 21

[DANCEROULETTE] Patti Bradshaw: Three Short Portraits Wednesday September 28, 8:00 PM, $20/15 Online $25/20 Doors

Kamikaze Ground Crew

Thursday September 29, 8:00 PM, $20/15 Online $25/20 Doors

Kris Davis & Craig Taborn

Sunday October 2, 8:00 PM, $20/15 Online $25/20 Doors

The Vinny Golia Quartet with Tim Berne, Ken Filiano, and Michael TA Thompson Tuesday October 4, 8:00 PM, $20/15 Online $25/20 Doors

Robert Browning Associates presents GANESH RAJAGOPALAN: Carnatic Masters: Swara Yoga Meditation Concert Friday October 7, 8:00 PM, $30/26

Glenn Branca: The Third Ascension and The World Premiere of The Light (for David) Saturday October 8, 8:00 PM, $25/30 Online $30/35 Doors


Curated by Meredith Monk: David Behrman’s Reinventions Thursday October 13, 8:00 PM, $20/15 Online $25/20 Doors

Passin’ Thru Music Festival: Josh Evans Quintet, The Oliver Lake Big Band Sunday October 16, 8:00 PM, $20/15 Online $25/20 Doors

Passin’ Thru Music Festival: Trio 3, 10^32K Monday October 17, 8:00 PM, $20/15 Online $25/20 Doors

The Westerlies: Album Release Show Tuesday October 18, 8:00 PM, $25/20 Doors

$20/15 Online

Interpretations: Malcolm Goldstein // Matthias Kawl Trio Thursday October 20, 8:00 PM, $20/15

Amorphous IV

Wednesday October 26, 8:00 PM, $20/15 Online $25/20 Doors


Vicky Chow: Piano

Thursday October 27, 8:00 PM, $20/15 Online $25/20 Doors

Optics 0:0 Parallax View

Wednesday November 2, 8:00 PM, $20/15 Online $25/20 Doors

Optics 0:0 TV EYE

Thursday November 3, 8:00 PM, $20/15 Online $25/20 Doors

Optics 0:0 Encoder/Decoder

Friday November 4, 8:00 PM, $20/15 Online $25/20 Doors

Zeena Parkins and Green Dome

Wednesday November 9, 8:00 PM, $20/15 Online $25/20 Doors

Judith Berkson and Mick Barr: WETHANTHELD Monday November 14, 8:00 PM $20/15 Online $25/20 Doors


Ron Stabinsky: Free For One Album Release Celebration // Tom Blancarte Tuesday November 15, 8:00 PM, $20/15 Online $25/20 Doors

Interpretations: Erik Friedlander // Juho Laitinen Thursday November 17, 8:00 PM, $20/15

Robert Browning Associates presents LA BANDA MORISCA: From Andalusia to North Africa and Near East Saturday November 19, 8:00 PM, $25/21

Curated by Meredith Monk: Theo Bleckmann’s Hello Earth! The Music of Kate Bush Saturday November 26, 8:00 PM $20/15 Online $25/20 Doors

[DANCEROULETTE] Kyli Kleven: Triangle Theory

Mon November 28 - Wed November 30, 8:00 PM, $10/15 Online $15/20 Doors

Curated by Meredith Monk: Missy Mazzoli // GABI Thursday December 1, 8:00 PM, $20/15 Online $25/20 Doors


Robert Browning Associates presents THE SECRET TRIO: TAMER PINARBASI, ISMAIL LUMANOVSKI & ARA DINKJIAN Saturday December 3, 8:00 PM, $30/26

Steve Swell’s Kende Dreams

Sunday December 4, 8:00 PM, $20/15 Online $25/20 Doors

Interpretations: Reinier Van Houdt // Brian Schober Thursday December 8, 8:00 PM, $20/15

Ingrid Laubrock Septet: Serpentines Album Release Thursday December 15, 8:00 PM, $20/15 Online $25/20 Doors

Phill Niblock: 6 Hours of Music and Film

Wednesday December 21, 6:00 PM, $15/10 Online $20/15 Doors







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Board of Directors + Staff BOARD OF DIRECTORS EXECUTIVE COMMITTEE James S. Staley, President Ned Rothenberg, Chairman Paul Gertner, Secretary Joseph Walker, Treasurer

Anne Hemenway Shelley Hirsch Mimi Johnson Gordon Knox George Lewis Alvin Lucier Gayle Morgan

William Parker Catherine Pavlov Frances Richard Fredrick Sherman, Esq. Laurie Szujewska David Weinstein Brooks Williams

STAFF Jim Staley – Artistic Director & Producer Sarah Scandiffio – Managing Director Woramon Jamjod – Technical Director Ian Bjornstad – Production Associate Wolfgang Daniel – Roulette TV Videographer & Post-Production Editor Ginger Dolden – Director of Marketing & Public Relations Gina Dyches – Events Associate Lorraine Goodman – Director of Development Perry Huntoon – Director of Membership & Development Associate Susan Karabush – Operations Associate Ben Manley – Technical Consultant Stevie May – Manager of Operations Jason McMahon – Facilities Manager Stéphanie Palmer – Director of Special Events & Community Partnerships Kerry Santullo – Public Relations + Digital Content Associate Cassie Tunick – Bookkeeper


James Clark, Stephen Cooper, Justin Frye, Caley Monahon-Ward, Brendan Reilly


Eliza Brennessel, Tess Dworman, Lola Harney, Kyli Kleven, Angie Pittman, Giovanna Sguera


Diego Clare, G Lucas Crane, Simon Hanes, Judson Kniffen, Alessandra Urso, Rainey White


Profile for Roulette Intermedium

Issue No. 001  

In the inaugural issue of Roulette's triennial journal, marking the start of our 38th season, Meredith Monk speaks about her first foray in...

Issue No. 001  

In the inaugural issue of Roulette's triennial journal, marking the start of our 38th season, Meredith Monk speaks about her first foray in...