Fresh from multiple appearances at the annual South by Southwest (SXSW) Conferences and Festivals in Austin, Tex., the Montauk Project marks the unveiling this week of their album “Belly of the Beast” with a Saturday night performance at Pianos on New York’s Lower East Side.

    The four-piece band — Mark Schiavoni on vocals and guitar, Jasper Conroy on drums and vocals, Chris Wood on bass, and Jack Marshall on lead guitar and vocals — has been building a following by performing across Long Island and in New York. With “Belly of the Beast,” 44 minutes of hard rock riffs, pounding drums, impassioned vocals, and feedback, they are aiming to further expand their audience and emerge in a music industry that is both rife with opportunity and saturated with would-be stars.

    “Belly of the Beast,” recorded in the band’s Montauk studio with their engineer, Matthew King, reflects the band members’ common influences, among them 1990s hard rock bands including Alice in Chains and Soundgarden, as well as those artists’ musical forebears such as Black Sabbath and Led Zeppelin. Dexterous and melodic electric guitars harmonize as riffs build to an explosive scream; Mr. Schiavoni’s voice bears a strong resemblance to that of Layne Staley, the late vocalist of Alice in Chains.

    “Growing up, we definitely listened to our share of Nirvana, Foo Fighters, and Radiohead. But we have further influences, not just rock ’n’ roll,” Mr. Conroy said, citing artists including the guitarist John Scofield, Miles Davis, and the Mahavishnu Orchestra.

    “We are looking to branch out in any way, shape, or form that allows us to,” Mr. Conroy said, considering his band’s observations of a music industry upended by a decade-plus of file-sharing and an obsolete business model. Should the right opportunity present itself, he said, the band might sign with a record label. But “right now, we’re doing our thing, ourselves.”

    “The industry is super-saturated right now, just from being at South by,” Mr. Conroy said, recalling the “thousands of bands, probably a half-million people, a lot of really good music, a lot of really bad music. There’s lot going on in the music world. Nowadays, it’s a lot easier to be a musician. With the technology we have, it’s a lot more accessible. Anyone with the ability and drive — and equipment — can pretty much be as professional as any studio that’s out there.”

    Mr. Marshall, who studied jazz composition at Berklee College of Music in Boston, observed that in the modern music industry, live performances and merchandise are larger revenue streams than a band’s recordings. “That’s how we’ve been able to help ourselves, more than recording,” he said. “We make our money at the live show, especially out here in the summer.”

    Unlike most young rock ’n’ roll bands, the Montauk Project played original music from the start. In the short term, such a path can make success that much more difficult; no one has heard the music before. “It’s a lot harder,” Mr. Conroy agreed, “especially the whole ‘identification’ thing. You can relate to a song because you’ve heard it so many times. To create that for your own music is definitely more difficult, but I feel like people are starting to grab on to our music. Some people know every word to every song on the entire album, and it hasn’t been released yet. That’s what we’re going for.”

    “That’s going to dramatically increase once the album is out,” Mr. Marshall predicted last week. “Once people have a physical copy to listen to, they’re going to identify a lot more.”

    The band’s compositions are largely a collaborative effort, Mr. Conroy said. “Someone will come in with an idea, or riff, or part of a song,” he said. “Usually, the rest of the band will quickly figure it out. Someone comes in with an idea, the rest of the band starts playing, and we say, ‘What if we did this, what if we did that?’ We don’t sit around for months trying to perfect a song — usually it clicks pretty quickly.”

    The band was disciplined from the start, reinvesting in itself with performance money. The musicians acquired recording equipment and, more recently, the van in which they traveled to and from the South by Southwest festival. “We sold CDs at SXSW to pay our gas back,” Mr. Conroy said, “and it worked out pretty well. We definitely have some supporters that believe in us. It’s encouraging.” The band’s ultimate goal, he said, “is to make enough to be able to just play music.”

    “Belly of the Beast” was released on Tuesday and is available at Crossroads Music and Innersleeve Records, both in Amagansett, and via download at the iTunes Music Store, CD Baby, and Amazon. The band’s performance at Pianos, 158 Ludlow Street in New York, happens on Saturday at 11 p.m.

    Certain Moves, a five-piece jazz ensemble, will perform a free concert at the Rogers Memorial Library in South­ampton Sunday afternoon at 3. The group, which includes Abdul Zhuri on guitar and vocals, Bill (Bang) Gaines on keys and vocals, Charles Certain on sax and vocals, Randy London on drums and pans, and Wayne Hart on bass and vocals, specializes in smooth jazz and R&B.

    Jazz fans unable to make the Sunday performance can catch the band tomorrow evening from 5 to 8 at the Wolffer Estate Vineyard in Sagaponack.

    Photographs typically need little introduction: what you see is what you see. With Herbert Matter, it is a different story.

    While a perceptive and artistic documentary photographer, Matter, a long-time resident of East Hampton and habitue of its art scene until his death in 1984, was much more. He began his artistic training at the Ecole des Beaux Arts in Geneva and continued his studies in Paris with Fernand Leger. In Paris he took up graphic design, a field that, with his use of photography, he helped define and revolutionize in the mid-20th century. And while he may not have invented photomontage, he certainly owned it as a means of expression.

    Then he took the photographic medium even further, understanding its possibilities as a tool of abstraction, using light to draw on paper. The old-school silver gelatin emulsion he used resulted in prints as dense as pudding, with depth and richness only possible with great preservation and the quality of materials used almost a century ago.

    In a show at the Gitterman Gallery in Manhattan, Matter’s photographs show the path of his artistic vision, using his early and later mashups and unique abstract designs to tell the story of his artistic development. He transmogrified his contemporaries’ obliteration of the painted image as an expression of postwar ennui and apprehension into the photographic medium. He did so as an aim in itself, not simply to document, and for the benefit of graphic design.

    Matter arrived in New York City in 1935 and stayed, becoming a freelance photographer under Alexey Brodovitch at Harper’s Bazaar. Brodovitch, one of the design visionaries of his time, had been a fan of Matter’s prior to his arrival in the United States, and had collected the travel posters he had designed in Switzerland. Matter’s work was also featured in such magazines as Fortune, which was also known for its embrace of contemporary art and design in its covers of the time.

    He became a friend of Alexander Calder’s after being assigned to photograph his work for Pierre Matisse Gallery, which would eventually show Matter’s work as well. The two artists became lifelong friends, and Matter’s distinctive images of Calder’s works became intertwined with the way many people continue to experience and remember his work.

    A 1939 image of a Calder stabile is included in the Gitterman show. It appears to be straightforward, but the image, of the black stabile on a light stone tile background, exposed to make the contrast as stark as possible, suggests photomontage, as if the sculpture were applied to a background from another scene. It is bold and disorienting and still fresh decades later.

    The dates are fluid in this show, mostly because the artist did not date his work. The dates that have been worked out mark the period of time before he moved to Los Angeles in 1943 to work with Charles and Ray Eames, and then the years after 1946, when he returned. In the years before, he has already mastered the abstract possibilities of photography. By 1948, and in some instances even earlier, when many breakthroughs were being made in Abstract Expressionism, he had figured out how to bridge the gap between the type of painting being done then and the contributions possible through the photograph.

    The gesture, the action, the mark, are all there, just made through manipulated mechanical means. Are the resulting images more rigid and geometric in some ways than the pure distillation of action and performance in paintings by artists such as his friends Jackson Pollock, Franz Kline, and Willem de Kooning? Yes, but not in a way that makes them any less liberating and revolutionary.

    The exhibition provides a well-rounded variety of images, enough to provide both context and highlights of Matter’s career. There are examples of straightforward techniques used to document the abstract in daily surroundings; photomontage, and then his own manipulations of the medium to create unique images. It is a strong showing overall.

    As a matter of taste, one work that served as a cover of Arts and Architecture magazine in 1946 seems weaker than others in the show. On a large white background, a photographic image of a mushroom cloud takes the shape of a human head in profile. The face and eyes of the head point in the direction of a much smaller Planet Earth. In the days before widespread satellite imagery this may have seemed radical, but its simplistic sincerity seems unsophisticated in its message.

    Still, it offers a literal distillation of the preoccupations of the time, particularly in the contemporary artistic community, which responded to the nuclear age by nuking the subject matter in its work. It was an understandable decision to include it in the show, but it does drain some of the power of the other works around it.

    The show is up through Saturday and will be followed by an exhibition of work by Adam Bartos, opening April 3.

    All Charlie Baker wants is some peace and quiet — from his humdrum London desk job, his dying wife, and his own demons. But when Froggy LeSueur, an English military type still with the barest whiff of colonialism about him, brings the staid British bore on a three-day job 100 miles south of Atlanta, a mishmash of mushmouth and cultural clashes ensues, with jaw-hurting hilarity.

    Froggy, played with gusto by Terry Brockbank, only wants his friend Charlie to restiffen his upper lip on an annual work-related sojourn Froggy makes across the pond. But Charlie (Matthew Conlon) only wants to be left alone, so Froggy tells the others in the backwoods bed-and-breakfast that Charlie cannot speak a word of English – he’s a “foreigner.”

    Then Froggy leaves for his military lectures and “to blow up a mountain,” and Charlie is left with the Widow Meeks, a scheming reverend, the reverend’s ex-debutante fiancée and possibly idiot brother, and an evil local official who wants to take over the widow’s home and make it ground zero for the white-sheet crowd.

    This isn’t even giving away the best plot lines in the late Larry Shue’s hilarious hit, which is all laughs from start to finish.

    What greets the audience first is another stellar set by Sean Marbury. There is no doubt that this is a well-loved and well-used lodge, complete with stuffed animal heads and plaid living room set. Sebastian Paczynski’s lighting conjures the Spanish moss hanging from the trees outside and the mist on the lake.

    Sarah Hunnewell directs deftly, with some moments that are picture-perfect. Diane Marbury as the widow and owner of the cabin rules her roost, Joe Pallister vacillates between unctuous and nefarious as the soon-to-be-wed cleric, Krista Kurtzberg and Ben Schnickel are wonderful additions to the play as the sister and brother who stand to inherit a meaty fortune, and James Ewing is suitably hateful as the crazy cracker.

    But Mr. Conlon, who has trod the East End boards and beyond for many a year, gives a performance of such magnitude that this should forever be considered his role.  From a panic-stricken and self-absorbed clerk to the exotic “foreigner” who amuses and entertains the cabin-dwellers, often in pantomime, Mr. Conlon offers a transformation of character that is as broad as it is believable.

    There are many short-and-sweet messages contained within this topsy-turvy world, where idiots are teachers, blonde ingenues are more than they appear,  crazy seems sane, and sane is boring. The Hampton Theatre Company continues its steady season by hitting one out of the park. With a PG-13 rating for mild swearing, this is a family-friendly show, and teens and young adults alike should be gently encouraged to see a live production every bit as amusing as a sitcom episode. 

    “The Foreigner” continues through March 30, with a possible extension through April 6.

    Perry Burns’s East Hampton studio is far from Sarajevo, and even farther from Beirut, but Mr. Burns’s paintings and photographs bridge those cultural distances in unexpected ways. Although he grew up in Connecticut, during a recent conversation Mr. Burns cited a trip to Lebanon at the age of 13 as an important influence on his artistic development.

    “My uncle was a naval attaché there,” Mr. Burns recalled, “and I went over just before the civil war broke out. Going from Greenwich to Lebanon blew my mind. I had been to New York City, but it was like New York multiplied exponentially, with such an intensity of sights and sounds and smells and languages.”

    Mr. Burns explained that his painting has always been influenced by the Islamic sensibility. “In Islam you see patterns and rhythmic repetition everywhere, because they believe pattern is a visual representation of your spiritual life.” Mr. Burns merges the traditions of Islamic pattern with the all-over surfaces of Abstract Expressionism, thereby “crossing the boundaries of culture, history, race, religion, ideology, and politics.”

    Mr. Burns remembers being so immersed in a painting at the age of four that by the time his teacher got his attention, all his classmates had left for the day. Though involved in sports and acting growing up, he knew by the time he was in high school that he wanted to concentrate on art. He attended the Rhode Island School of Design, from which he earned a B.F.A. in 1988, before moving to New York.

    After two years in the city, he had had enough. “I was mugged and beaten up, I saw somebody get stabbed, and one of my friends almost got killed — all within a single week!” When two friends told him they were renting a house on Buell Lane in East Hampton, Mr. Burns asked if he could join them. He has been on the South Fork ever since.

    Though he majored in both painting and illustration at RISD, when he realized he would rather teach than work as an illustrator, he enrolled at Columbia University Teachers College and earned an M.A. in 1994. Coincidentally, around that time he met Jonathan Snow, who was involved in the establishment of the Hayground School in Bridgehampton. When the school opened in 1996, Mr. Burns was hired and found a studio on Fireplace Road in Springs. He taught at Hayground for eight years and returns as a visiting artist from time to time.

    While he has been painting abstractly for 20 years, a second body of work that incorporates photographic images has developed since 2011. “After 9/11, in the back of my mind I wanted my artwork to be more socially and politically poignant, but it took almost 10 years to figure out what I wanted to do and how to do it. I looked at my abstract paintings and saw the marks were like pixels.”

    For the large representational works, Mr. Burns first stretches the canvas onto a large metal framework affixed to the floor of his studio. “This allows the canvas to remain taut as I glue the pieces onto it,” he explained. “Otherwise, the canvas would end up like a big potato chip.”

    Once the canvas is stretched, he prints a photo out in large sections and glues those to the canvas, aligning the pieces to create one large image. “And either before or after, or sometimes both, I’ll add pieces of painted or printed paper to create the pixelated look.” The result is to partially obscure and transform images familiar from mass media in ways that refresh them and encourage the viewer to reflect on their content.

    All the paintings, whether purely abstract or incorporating images, are constructed of layers. “I build them up, then sand or use paint stripper to strip them back. I realized after painting for 20 years that a painting has a memory. You can go back and see its history by unearthing the layers.”

    One of the pieces in the studio, “Peshawar,” the background of which is a photograph of a protest in Pakistan, is 84 by 120 inches. “When I put pixels over an image like ‘Peshawar,’ I’m asking what messages are we as Americans getting from the media about Islam. Are the images in the newspaper negative or positive? I want people to think about issues, to wrestle with whatever the images provoke, whether it’s emotional, spiritual, or intellectual. I have my own leanings, but in my work I don’t take a stand on one side or the other.”

    In another work, a large black-and-white image of a rally in Nazi Germany is partially overlaid with colored squares, the pattern for which was taken from an Ellsworth Kelly print. Mr. Burns likened working with the squares to a sliding puzzle, which requires moving the pieces to arrive at the solution.

    In the most recent pieces, he is moving away from the grid. “Sometimes when you’re watching television, you get these sudden digital disturbances, where the pixels morph and some parts of the image are clearer than others. In some cases I’m putting the pixels down first, then applying the images.” One work-in-progress contains images related to Wall Street, while another incorporates photographs taken by the artist at a political rally on a recent cross-country trip.

    Mr. Burns travels widely and often, gathering images from a variety of contexts. On the cross-country trip he photographed at locations freighted with social and political meaning, among them Detroit, Selma, Ala., and along the Mexican border. He also attended Foundry Photojournalism workshops in Istanbul and Sarajevo, which are open to professional photojournalists and “semi-photojournalists, like me.”

    Mr. Burns’s time in Sarajevo was especially difficult. “I was interviewing survivors of the war and I really wanted to capture in images what it’s like now. Even today, 14 years after the war, most of the buildings are still pockmarked from snipers’ bullets. Because the younger generation has grown up without memory of the war, there’s a vibrant new youth culture. But the older people really look haunted, as if they have lived five lifetimes and witnessed more than they can bear.”

    During the siege of Sarajevo, the Yugoslav army surrounded the city with snipers who would target the intersections, where there was no cover for pedestrians. One man told Mr. Burns that when he and his wife had to go out, they would pause before each intersection, pray, and then run across as fast as they could. On one occasion, his wife was shot and killed. “Those people’s stories are devastating.”

    Mr. Burns is married to Jolie Parcher, the owner of Mandala Yoga in Amagansett. They have two sons, Baxter, 18, a senior at Pierson High School, and Kai, 14, who will be a freshman at East Hampton High School in the fall.

    Mr. Burns maintains a blog that includes artwork, photographs, reflections on his travels, and the following statement: “My work is most fundamentally about the politics of seeing, and how the act of seeing affects, shapes, and informs our experience of the world both personally and publicly. The act of seeing is at once personal, public, and political, and profoundly so at every level.”

    “Galaxies,” an exhibition of new abstract paintings by Mr. Burns, is on view at Cheryl Hazan Contemporary Art in New York City through March 29.

Calls for Entries

    A sure sign of spring is Guild Hall’s annual artist members’ exhibition, which will take place from May 3 through June 7. Artists wishing to participate in the 76th iteration of the show have been asked to submit their registration cards by April 18.

    This year’s exhibition judge will be Robert Storr, professor of painting and dean of the school of art at Yale University and consulting curator of modern and contemporary art at the Philadelphia Museum. Michelle Klein, assistant curator at Guild Hall, has organized the show, and Christina Strassfield, museum director and chief curator, will oversee the installation.

    Registration materials and additional information are available at guildhall. org.

    Not to be outdone, the Water Mill Museum has announced May 5 as the registration deadline for its 22nd annual members’ show, which will open on May 22 and remain on view through June 16. Full details may be found at watermillmuseum.org.

“Sammy’s Beach” in Chelsea

    An exhibition of paintings and works on paper by Connie Fox, inspired by  Sammy’s Beach in East Hampton, is now on view through April 19 at Danese/Corey Gallery in Chelsea. Ms. Fox first visited the beach with her friend Elaine de Kooning 30 years ago and still begins each day there.

    “The most significant thing I did at Sammy’s was just to be there,” she has said. “I walked, sat, looked. Most importantly, I swam.” She also took photographs, which provided the point of departure for the paintings. While resolutely abstract, the paintings nonetheless reflect the colors, movement, and light of the landscape.

    Ms. Fox first came to the East End in 1979. Shortly thereafter she met William King, the sculptor, and they have lived together in East Hampton ever since. Her work is in the collections of museums throughout the United States.

New Bartos Photographs

    Adam Bartos, a photographer who lives in East Hampton and New York, will have a solo exhibition of new work at Gitterman Gallery in Manhattan from Wednesday through May 31, with an opening reception Wednesday from 6 to 8 p.m.

    Mr. Bartos turns his camera on people and places that seem ordinary, overlooked, and in some cases the worse for wear, among them the obsolete Russian space program, the aging modernist architecture of the United Nations building, and unexceptional landscapes and buildings on Long Island.

    The new photographs were taken at local speedways in rural New York, Florida, and New Mexico, where driver-owned stock cars race on quarter-mile dirt tracks and corporate sponsorship and prize money are minimal. Mr. Bartos infuses the no-frills technology of that high-speed world with a stately calm and a tinge of melancholy. His work is in the collections of major museums, among them the Museum of Modern Art, the J. Paul Getty Museum, and the Whitney Museum of American Art.

Gornik to D.C.

    April is shaping up as a busy month for April Gornik. She will travel from her house on North Haven to Washington, D.C., on April 1 to deliver the second annual James Dicke Contemporary Artist Lecture at the Smithsonian American Art Museum. She will discuss her dramatic landscapes, including “Virga,” which was recently added to the museum’s collection. A reception will follow the lecture.

    A solo exhibition of Ms. Gornik’s large paintings and drawings will be held at the Danese/Corey Gallery from April 24 through May 31. To top off the month, a new book, “April Gornik: Drawings,” will be published by FigureGround Press, featuring essays by Steve Martin and Archie Rand as well as an interview with Ms. Gornik. The book will be available at the exhibition opening.

Mizrahi at Ashawagh

    “Retrospectively Yours,” an exhibition of paintings by Haim Mizrahi, will be held at Ashawagh Hall in Springs Saturday and Sunday, with a reception Saturday from 4 to 8 p.m.

    Mr. Mizrahi, a poet and musician as well as a painter, immigrated to the United States from Israel in 1983. He has cited as his mentors the late Siv Cedering, an artist and writer; Kenwood Denard, a musician, and Allen Planz, a poet.

    A reading by local poets will take place Sunday afternoon at 3:30.

    PechaKucha Night Hamptons will return to the Parrish Art Museum in Water Mill tomorrow at 6 p.m. Organized by Andrea Grover, the museum’s curator of special projects, the quarterly programs consist of 10 members of the community, each of whom presents 20 slides at 20 seconds each, for a total of 6 minutes and 40 seconds per presenter.

    Tomorrow’s participants are Noah Becker, artist and writer, Viola Cause, aquaculturist, Jerstin Crosby, artist, Brendan Davison, grower, Bob DeLuca, conservationist and advocate, Jonas Hagen, transportation consultant, Alice Hope, artist, Hy Mariampolski, marketing consultant and postcard collector, Ari Meisel, productivity and wellness coach, and Ingrid Silva, photographer and artist.

    Tickets are $10, free for members, children, and students, and are available at parrishart.org.

    As a composer, Antonio Vivaldi rather owns spring through the popular co-opting of his violin concerto “La primavera.” So it is appropriate that the Choral Society of the Hamptons welcomes spring with “Viva Vivaldi!” — opting not to offer a cliched response to the arrival of the equinox, but to give a varied program of joyous music by the composer and others to awaken senses dulled and dormant from the long winter.

    The concert, to be held on March 30 at 5 p.m. at the East Hampton Presbyterian Church, will include Vivaldi’s “Gloria,” Johann Sebastian Bach’s Cantata 71, “Gott is mien Konig,” and Ralph Vaughan Williams’s “Five Mystical Songs.” Walter Klauss will guest conduct. The soloists will be Mary Hubbell, a soprano; Barbara Fusco, a mezzo-soprano; Nathan Siler, a tenor, and Michael Maliakel, a baritone. The South Fork Chamber Ensemble will accompany the singers.

    The society described “Gloria” as triumphant and tuneful, festive and glorious. It features unusual instrumentation — strings and a single oboe and trumpet — with two female soloists and chorus. Bach’s Cantata 71 “explores themes of aging and renewal with strong tempos and vibrant counterpoint.”

    The Vaughan Williams selection uses the verse of George Herbert as the text for his “Five Mystical Songs,” in which musical imagery, mysticism, and sensuality weave a spellbinding effect.”

    Mr. Klauss is a part-time resident of East Hampton and founder and conductor of New York City’s Musica Viva concert series as well as minister of music at All Souls Unitarian Church in the city. The soloists have performed regularly with Musica Viva and groups throughout the U.S. and abroad.

    Tickets cost $30 in advance and $35 at the door, with youth tickets available for $10 and $15. Preferred-seating tickets cost $75. Tickets can be purchased online at choralsocietyofthehamptons. org or at the Romany Kramoris Gallery in Sag Harbor.

    Following the concert, a benefit dinner will be held at the Living Room restaurant at c/o the Maidstone in East Hampton. Tickets for the dinner are available from the society for $300 per person, and reservations are being accepted until Wednesday through the society’s website.

    The society’s summer concert will take place June 28 in Bridgehampton and will celebrate Leonard Bernstein with music from “Chichester Psalms,” “Mass,” “West Side Story,” “Wonderful Town,” and “Candide.” Singers will be invited to audition for the Choral Society in April.   

    “Beautiful Tree, Severed Roots,” a documentary by Kenny Mann, will be screened tonight at 7 at the Bay Street Theatre in Sag Harbor. The film premiered at the Hamptons Take 2 documentary film festival in December.

    Ms. Mann’s parents were Jewish refugees who fled from Romania to Kenya in 1942. Born four years later, the filmmaker grew up in Kenya and lived there until she graduated from the University of Nairobi in 1968.

    Set against the background of the Mau Mau rebellion of the 1950s and Kenya’s independence in 1963, the film examines her parents’ adaptation to Africa, her own coming of age as the country was approaching independence, and issues of personal and national identity.

    Ms. Mann, who lives in Sag Harbor, recently returned to Kenya, where she taught documentary film development and production. “Beautiful Tree, Severed Roots” will have its African premiere in Nairobi in September.

    Tickets are $10, cash only, at the door. A portion of the proceeds will be donated to Bay Street Theatre.

    The Southampton Historical Museum will celebrate the 200th anniversary of the birth of Pyrrhus Concer on Saturday at the Rogers Mansion with an afternoon of free programs devoted to the man who was born a slave in Southampton in 1814 and died a philanthropist in 1897.

    Concer was a boat-steerer on whaling expeditions and the first African-American to visit Japan. His estate benefited distressed sailors and local schoolchildren. One of Southampton’s most highly regarded citizens in the 19th century, he has been all but forgotten today, according to the museum.

    The celebration will begin at 2 p.m. with the proclamation by Assemblyman Fred W. Thiele Jr. of March 17 as Pyrrhus Concer Day in New York State. A lecture by Sally Spanburgh on “Pyrrhus Concer the Man” will follow at 2:10.

    Brenda Simmons, director of the African-American Museum of the East End, Georgette Grier-Key, director of the Eastville Historical Society, and Lucius Ware of the N.A.A.C.P. will join Ms. Spanburgh for a panel discussion at 3.

    A party with live jazz, poetry readings, and refreshments will begin at 4.