The Bay Street Theater in Sag Harbor will hold auditions for upcoming concerts on Feb. 27 from 11 a.m. to 2 p.m., by appointment. The theater is looking for female and male vocalists to sing “in the style of Grace Slick and Marty Balin,” for a 30-minute set of Jefferson Airplane’s greatest hits, to be backed by a full band. Vocalists have been asked to prepare to sing “White Rabbit” and “Somebody to Love.”

For a future concert of music from the late 1950s and the early 1960s, the theater is seeking a female vocalist to perform a la Peggy Lee, Dinah Washington, and Julie London, and a male to cover Dean Martin, Bobby Darin, and Lou Rawls, among others.

Appointments to audition can be made by emailing [email protected].

The Eastville Community Historical Society in Sag Harbor will commemorate Black History Month this weekend with a two-part exploration of African-American artifacts and memorials. On Saturday, an ongoing exhibition will open at the society’s home on Hampton Street, and on Sunday, a symposium and pop-up exhibition, presented in partnership with the Sylvester Manor Educational Farm, will take place at the Bay Street Theater.

Taken together, the events engage the question raised by Georgette Grier-Key, the historical society’s director: “How do you tell the story of African-Americans who were part of the East End communities? If you’re talking about George Washington or Robert David Lion Gardiner or even the Sylvesters, there are records dating back generations of everything they’ve done from birth to death. Normally, with African and Native Americans that were part of these communities, there is no, or very little, information.”

The Sunday symposium, “An Observance of East End African American Burying Grounds: How Is the Story Told?” includes photographs of various cemeteries in the towns of East Hampton and Southampton, organized by Donnamarie Barnes, the society’s photography conservator, and some of David Cosgrove’s mahogany carvings from headstones at local burial sites.

The panel will focus on how a history can be constructed from the observation of burial grounds, a subject that reflects the growing regional movement toward cemetery documentation and restoration. Dr. Grier-Key cited the example of Ned the manservant, who died in 1817 and whose headstone was found several years ago off Morris Park Lane in East Hampton. Since then, pieces of information about “the faithful Negro manservant of Capt. Jeremiah Osborn” have come to light.

“Information comes from the gravestones themselves,” said Dr. Grier-Key. “Sometimes it’s all you have, the names and dates of death. But we also look at historic records and documents and put this information together to try to get a picture of who these people were, how they came to be on the East End, and how they lived here. The survival of these various sites prevents the presence of these people from being erased from the history of the East End.”

Sunday’s panelists are Sandra Arnold, who is developing a national burial registry at Fordham University of enslaved African-Americans; Stephen Mrozowski, director of the Andrew Fiske Memorial Center for Archaeological Research in Boston; Zach Studenroth, Southampton Town historian; Zach Cohen of Springs, who heads a committee that oversees East Hampton burial plots, and Dr. Grier-Key.

The related exhibition, which can be previewed on Sunday from 1:30 to 3 p.m., will be followed by the discussion, with a question-and-answer period from 3 to 4:30 and a reception from 4:30 to 5:30. Tickets are $15; $10 for students, veterans, and senior citizens in advance, and $20 at the door. A cash bar will be available during the reception.

“Black Memorabilia: Images and Icons” will open at the historical society on Saturday with a reception from 5 to 7 p.m. and remain on view through April. The exhibition will include approximately 200 works from the collections of Martin A. Butler, society board member and chairman of the collections committee, and his brother, Michael A. Butler, an artist, society board member, and chairman of its cemetery preservation committee.

The objects on view range in date from the 1890s to the present. The oldest, according to Michael Butler, are the golliwogs, black characters in children’s books, usually depicted as a type of rag doll. “A lot of the items are from the 1930s and 1940s,” Mr. Butler said, “and to bring it up to date, there are some action figures, a Michael Jackson doll, a James Brown doll, and a couple of Barbies.”

Dr. Grier-Key, who organized another exhibition from the Butlers’ collections at the Suffolk County Historical Society, commented that “some people are inevitably offended, because some of these images were basically made to mock African-Americans, to make them look like savages, with dark skin and big eyes. Our viewpoint at the historical society is not to rewrite history but to teach why these images matter and to encourage people not to be ashamed of them.”

She pointed out that white people, too, have grown up with some of these images. “We’ve all had Aunt Jemima, and you still have her in your house if you eat pancakes. If you look at the evolution of her image, she originally had a scarf on her hair, she was a little darker, her teeth were whiter and probably larger. Now she wears pearl earrings and a pearl necklace, and her hair has been straightened by chemicals.”

“These images can be used to teach tolerance, to teach differences, to allow questions about race to be asked in a safe space. It is not only African-American history, it is American history, and we plan on having schoolchildren come through so we can talk to them about the importance of imagery. Some of the lessons we teach are painful, some are not. Some are high points we can celebrate, some we can’t. But it’s important to teach these different elements of our history.”

She pointed out that, unlike most historical museums, the Eastville Community Historical Society is incorporated under the state’s education law. “We’re an extension of the education system. We have to invoke these different conversations to help define who we are and where we’re going.”

For the past few months, Guild Hall has displayed an array of photographic portraits in the intimate space of its Wasserstein Gallery. The set of 15 predominantly black-and-white prints, the work of Walter Weissman, befit the room, and the room enhances them.

The rich architectural detail is a good backdrop for the artful yet spare images and prods the viewer to intuit that the photographs warrant sustained scrutiny. At first, the images look like accomplished candid snapshots, grabbed casually at a party. Gradually, however, it becomes obvious that something more is happening here. 

The size of each image settles into the 18-by-12-inch range, large enough to bring out details about the personalities of the subjects, primarily artists. All were taken at public events, from the 1980s to about 2005.

There’s Roy Lichtenstein mixing it up in profile next to one of his linear archaic head sculptures, also in profile. Billy Joel, one of the many champions of South Fork baymen, stands solemnly with hands clasped next to Willem de Kooning’s “Clamdigger” sculpture. Chuck Close’s head is captured in a sea of Donald Sultan’s dots, a comment on both artists’ use of the compositional building block to very different ends.

In a 2011 profile, Mr. Weissman told The Star that even in informal settings, he works diligently to arrive at a definite shot. In the Chuck Close photo, the dots could have related to Hollywood lights or a make-up chair mirror, but to him they had a specific relationship to the artist’s painting process, in which he composes his subjects in a series of blips, rods, and specks.

Rather than the “decisive moment” of Henri Cartier-Bresson, Mr. Weissman looks for the elusive moment, one that may reveal something profound about his subject in a superficial setting. It is on the red carpet and at public appearances that the personalities of celebrities “hide in plain sight. The superficiality comes from how much can a photographer know about someone?  How to get that introspective moment? The image must be revelatory.”

He sets up quite a challenge for himself, and, upon closer inspection, not all images succeed. While Mr. Joel appears solemn, he also looks vaguely annoyed. Larry Rivers, pictured during a panel discussion in 1991, looks too cropped, too close up, and inscrutable, his mouth forming a taut line. Edward Albee’s downcast eyes and slight frown conjure up a basset hound.

At a certain point, the viewer begins to wonder: Don’t a lot of people do this kind of thing for a living? Their images are published, too, but making prints out of them and hanging them on the wall as art does not seem to occur to most of them. The question is whether this photographer is different, and why?

Some images that help answer these reservations in the affirmative are those of Robert Rauschenberg, shown in a lighthearted moment in front of one of his “Combines” at the Knoedler Gallery in 1993, during its happier times. The gallery closed in scandal in 2011 after being found to be dealing in forged paintings. Its principals have been sued by several of their clients, including one case settled last week in New York City. The Knoedler’s appearance here reminds us why it was considered august in the first place. 

In addition, Dan Flavin, seated, looks relaxed and full of bonhomie. Elaine de Kooning’s crossed arms and stern expression speak to her seriousness of purpose, while her frilly and billowy long white blouse give her an ethereal air. Eric Fischl looks open and engaged.

Over all, Mr. Weissman’s images are insightful and do have a thoughtful approach. They benefit from their contribution to the visual record of those artists, so many of whom are no longer here. That the bulk of the photos were taken in Guild Hall during its various openings and events makes it an appropriate home for them. In fact, the museum has acquired most of the images, a smart move to buttress its archives with documents of the artistic history of the area and its part in it.

The exhibition will be on view through Sunday.

Those of us on the South Fork who are decidedly not “morning” people can awaken to music and high spirits at 92.9 and 96.9 on the FM dial, where Anthony, host of “The Morning Show” on WEHM, reliably serves up an abundance of both. 

Broadcasting from a studio in Water Mill, the D.J. is on-air at 6 a.m., winding up his show at 10 with a context-free audio clip from “The Family Guy.” In between, new and catalog rock ’n’ roll music mixes freely with news, sports, and weather dispatches, a range of topics trending on social media, and Anthony’s playful and often hilarious free-association riffs on anything and everything. 

Concert tickets are given away, and he engages listeners on the air, some of them regulars with handles including Twitter Bill and Bud the Hippie. Nine-to-fivers getting ready for the day can monitor their punctuality, or tardiness, with daily features including Breakfast With the Beatles (7:20) or the EHM Cover Story (8:45). And always, witty and irreverent commentary, sometimes over clips of rock-star stage banter gone wrong, “cheesy love songs” such as Friday’s observance of Valentine’s Day, or on the D.J.’s love for food (he is not a vegetarian). 

“I grew up a wise-ass, so it’s easy,” said Anthony, whose surname is closely guarded. Turning serious, he allowed that “to be humorously appealing to people is not easy. For a time there, you were a serious political talker, or you were a shock jock.”

Though the native of Howard Beach in Queens grew up in a house filled with music and was smitten by radio early in life, Anthony might have ended up an executive with his beloved New York Islanders. Studying sports management at St. John’s University, an internship with the team was to lead to full employment. Fate intervened, however, with the National Hockey League’s 2004-05 lockout, which canceled the season. “That was it for my sports career.”

Fortunately, a career in radio would also be born at St. John’s. “They piped their radio station through the cafeteria,” he remembered. “I think I had just broken up with a girlfriend, was hanging out with a buddy, and it was ‘I can do better than this.’ We went up to the fourth floor and I had a show, like, two weeks later. I became the program director three or four months after that, and really fell in love with it.”

The groundwork, however, had already been laid. “I came from an Italian family, so every Sunday morning there was sauce on the stove as you woke up, getting ready for that night’s dinner, but there was also music — Sinatra and Jimmy Roselli and Tony Bennett. My grandparents had a record player, and my grandmother was always playing music. That filtered down to my parents.” 

His father, fittingly, was also in the communications business, working for the telephone company and with its volunteer organization, Telephone Pioneers of America. “We used to do walks and various benefits,” Anthony said. “We were at one and I got a keychain for WPLJ, which was Power 95.5 at the time. I remember holding on to that and just loving it.”

On family trips to and from his grandmother’s summer house in New Jersey, the radio was often tuned to the Don K. Reed Doo-Wop Shop on WCBS-FM, or to Sid Mark, a Philadelphia D.J. who presented shows devoted to Sinatra’s music. 

After a brief, unhappy stint in the financial business, promotional work for Farmingdale-based stations led to the programming and promotions departments at WCBS, which led to weekends on-air at WBAZ, a sister station of WEHM. In 2006, Anthony moved to weekends on WEHM, and then to weekday afternoons. 

In time, Lauren Stone, WEHM’s program director, moved him to mornings. “I was doing a morning show in the afternoon,” the D.J. said. “It just didn’t fit as well.” 

“That’s how I felt,” Ms. Stone, who in 2014 bought Long Island Radio Broadcasting, the parent of WEHM, WBAZ, and WBEA, said last week. “It seemed an obvious choice.” Anthony, she said, “has so much raw talent. He’s totally uninhibited. He’s not afraid to try something new. If it works, great; if it doesn’t, he’ll keep going. It’s a wonderful quality.” 

“It’s weird,” Anthony mused. “I always consider myself more a radio person than a music fan. I like the intimacy, the theater of the mind, the immediacy of the medium.” 

Ms. Stone “outlines the playbook,” he said of WEHM’s musical path, and Harry Wareing, the music director, assembles daily logs. “We’re in the unique situation where I can do whatever I want with it. I think the last time a program director said that to an on-air personality was in the ’70s. It just doesn’t happen anymore.” 

The freewheeling vibe of “The Morning Show” belies no small amount of preparation, however. Anthony, who became a parent in September, commutes to the station from Manorville and is wide-eyed at 6 a.m. sharp. “I know what I’m going to talk about the night before, unless something wild happens after 10 p.m., which sometimes happens. I’m pretty well prepared the night before, but I do get up early in the morning” — 4 a.m., give or take 15 minutes — “to make sure the president is still alive, make sure we didn’t get invaded by anybody.” 

Does he ever feel off his game? “At 5:59 I do. At 6, no, because I love doing this every day.” His enthusiasm is unmistakable, and has earned loyal listeners throughout the South Fork, southern New England, and, via the live stream from WEHM’s website, as far away as Turkey and Afghanistan. 

Talking on-air with Gregg Allman was “beyond weird,” Anthony said. “When I was listening to music and appreciating it, it never, ever, crossed my mind that I would be having conversations with these people, about whatever I wanted to talk about, you know? When you get to talk to somebody like that, that still blows my mind.”  

Also among Anthony’s listeners is Howard Stern, who has a house in Southampton. The infamous shock jock, who had taken up photography, asked if he could visit the studio and photograph the D.J. Unsure if he was being pranked, Anthony agreed, on the condition that Mr. Stern bring food. “Sure enough, he came rolling in with two trays of food and his camera, and was cool as shit, talking to me like we’re on the same level — which we are absolutely not — and just being a real human being.”

“One of the reasons he connects so well with the audience is he doesn’t take himself too seriously,” Ms. Stone said. “He’s having a great time, and he is one of the listeners. That’s what makes him so lovable and relatable.” 

In an on-demand world in which millions of songs are available via streaming services, and satellite radio offers scores of niche stations, that is no small accomplishment. “There is an incredible amount of loyalty to the show and to the station,” Anthony said. “The Morning Show” is clearly an extension of his life.

The Disappearing Landscape

“Scenes and Structures: Here and Gone,” an exhibition of paintings by Eileen Dawn Skretch and photographs by Anthony Lombardo that focus on the vanishing landscape, will open Tuesday at the Southampton Cultural Center and remain on view through April 10. A reception will be held March 12 from 4 to 6 p.m.

A Southampton native, Ms. Skretch paints her large, sweeping landscapes on birch plywood and hollow-core doors, allowing the wood grain to become an essential part of the design. Mr. Lombardo, who lives in Water Mill, will exhibit large-scale photographs of vanishing East End barns and other farm structures.

Watermill Center in Manhattan

Hank Willis Thomas, a multi-disciplinary artist who engages the themes of identity, history, and popular culture, will discuss his work on Tuesday at 7 p.m. as part of “Viewpoints @ 29th Street,” a series of presentations held by the Watermill Center at the Byrd Hoffman Water Mill Foundation in Manhattan.

In addition to his sculpture, photographs, installations, video, and mixed-media work, Mr. Thomas is the author of “Pitch Blackness,” which begins with a personal and interpretive re-telling of the murder of his cousin, and goes on to trace the artist’s career as he grapples with the issues of grief, black-on-black violence in America, and the ways in which corporate culture is complicit in the crises of black male identity.

Tickets are free, but advance reservations are required.

The John Drew Theater Lab will present a free concert staging of “Eco,” a new musical by Jenna Mate and Bethie Fowler, on Tuesday at 7:30 p.m.

“Eco” is a young-adult musical about a girl’s journey through post-apocalyptic America. Eco must travel through a drastically altered future landscape to find her parents, from whom she has been separated for much of her childhood.

Ms. Mate, who wrote the music and lyrics, is a vocalist and actress who lives in Southampton, where she is enrolled in Stony Brook’s M.F.A. program in theater. A playwright and a graduate of the same program, Ms. Fowler, who wrote the book, now lives in Brooklyn.

Center Stage of the Southampton Cultural Center will present a concert adaptation of Rodgers and Hammerstein’s “South Pacific” from next Thursday through March 20.

Set on an island paradise during World War II, the plot of the musical concerns two romances, one between an American nurse and an expatriate French plantation owner and the other between a U.S. Army lieutenant and a young woman from the island.

A long-running Tony Award-winning hit on Broadway, the play was notable for engaging, in 1949, the issue of racial prejudice. Among its most familiar songs are “”I’m in Love With a Wonderful Guy,” “Younger Than Springtime,” and “Some Enchanted Evening.”

Michael Disher will direct the production, and Amanda Borsack Jones will be musical director. Performances will take place Thursdays at 7:30 p.m., Fridays and Saturdays at 8, and Sundays at 2:30. Tickets are $25, $12 for students under 21 with ID.

Mr. Disher, the director of Center Stage, will also conduct “Read, Reach, and React,” a workshop for actors, on five consecutive Tuesday evenings from 6 to 9, starting March 8 at the cultural center. He will lead actors through American classics, new works, playwrights known and obscure, and material “with meat and meaning.” Reading, scene study, and resonance will be coupled with technique and theory.

Early registration is required by email to [email protected]. The workshop is for ages 17 and above and costs $195.

“Listen to My Heart,” a free musical tribute to the cabaret legend Nancy LaMott, will take place at the Montauk Library on Sunday afternoon at 3:30. Rusty Kransky and Dee Martin, actor-singers who live on the North Fork, will be accompanied on piano by Jeff Wentz, minister of music at the First Congregational Church in Riverhead. 

Ms. LaMott, who was a popular figure on the New York City cabaret circuit and performed twice at the White House for the Clintons, died in 1995 at the age of 44. The library concert will include such standards of the American songbook as “Listen to My Heart,” “Moon River,” “Autumn Leaves/When October Goes,” and “No Moon at All/Old Devil Moon.”

Thanks to Bay Street Theater in Sag Harbor, residents of the South Fork have had plenty of remedies for a long winter’s inevitable cabin fever. This off-season has seen a multitude of musical events that have warmed the cold nights, many of them paying tribute to rock ’n’ roll’s classic era and the artists who made it so. 

Tomorrow’s 8 p.m. show, “The Ultimate Classic Rock Experience,” takes the concept a bit further. The evening will spotlight Corky Laing, best known as the drummer of Mountain (“Mississippi Queen,” “Nantucket Sleighride”), and Kofi Baker, the son of Ginger Baker, drummer of bands including Cream, Blind Faith, and the Graham Bond Organisation. They will perform and provide firsthand accounts of the rock ’n’ roll life, partaking in a question-and-answer session. 

Cream and Mountain exemplify the power-trio rock ’n’ roll band format. Though the latter group often included a fourth member on keyboards, both helped to popularize the guitar/bass/drums lineup and explosive blues-based sonic explorations. The groups are also linked by the late Felix Pappalardi, who produced the former and co-founded the latter, and the late Jack Bruce, Cream’s bassist, who later performed and recorded with Mr. Laing and Mountain’s guitarist, Leslie West. 

Both Mr. Laing and Mr. Baker spoke last week of their emphasis on authentic, faithful renditions of the music for which they are known. “At Bay Street, you’re going to hear the songs exactly the way they were played, in the same voice,” Mr. Laing said from Helsinki, as he wrapped a European tour of “Corky Laing Plays Mountain.” “I’m going back and enjoying some beautifully arranged music,” he said, “playing Mountain songs the way they were originally recorded in the late ’60s and early ’70s. It seems to be a good thing; a lot of the bands of that era don’t play the songs the way they did originally. Over 40 years, you go through changes and play things differently. I think we lost a lot of audience. The reason they fell in love with the music was the arrangements.” 

European audiences remain both ardent fans of classic rock ’n’ roll and particular about its performance. “We found people wanted to hear it the way it was,” said Mr. Laing, who lives in Greenport. “They know the words, the arrangements, and they’ll be brutally honest: ‘You forgot the downbeat on the sixth measure of the second verse.’ It’s been very rewarding, being asked to do a European tour, but it will be nice to bring it to the neighborhood, to Bay Street. I love that place.” 

Mr. Baker, a jazz musician like his father, likewise found that fans wanted to hear the music for which the elder Mr. Baker is known. He was inspired to form “Kofi Baker’s Cream Experience” after seeing his father’s band during its 2005 reunion, and also performs with Sons of Cream, a group featuring Malcolm Bruce and the guitarist Godfrey Townsend, who is known for playing the music of Cream’s guitarist, Eric Clapton. Mr. Townsend will join the musicians on Friday. 

The younger Mr. Baker stays true to his father’s group, he said, by virtue of Cream’s emphasis on improvisation, which fused blues, psychedelia, and pop, sometimes in lengthy jams that endure on recordings of its late-1960s concerts. “We do it close to how they did it back then,” he said, albeit “more fiery, more jammy. Cream is basically a jazz band that went pop: the head of a tune, then you jammed, then back to the head again. That’s where I’m at, improv’ing. I play differently every night.” 

Mr. Baker, said Mr. Laing, is “a brilliant drummer. Kofi plays with strength, energy, power. He plays very much like his dad, and at the same time adds his Kofi-isms.” Ginger Baker, whom the website AllMusic.com describes as “rock’s first superstar drummer” and the 1960s’ most influential percussionist, “is quite a character,” Mr. Laing said. (The elder Mr. Baker is the subject of the must-see documentary “Beware of Mr. Baker.”)

In “The Ultimate Classic Rock Experience,” Mr. Laing promises “an energetic musical experience, taking it back to the power-trio rock” as practiced by Mountain and Cream. “It’s all about the music.” And, he added with atypical understatement, “there’s going to be a lot of drums.”  

Tickets to “The Ultimate Classic Rock Experience” cost $25 today and $30 tomorrow and are available at the box office and at baystreet.org.

The East Hampton Library will present “Jazz: The First American Art Form,” a free lecture by Craig Boyd, on Saturday afternoon from 2 to 4. Mr. Boyd, a professor of music at Suffolk Community College and recipient of the New York State Chancellor’s Award for Excellence in Scholarship and Creative Activities, will examine the history of jazz from its conception to the present.

The talk will consider major events in African, European, and American sociopolitical history that were the seeds of the unique American art form, as well as rhythm developments, instrumentation, and improvisational techniques. In addition, Mr. Boyd, a member of ASCAP with a number of recordings to his credit, will perform some of his own compositions.