Generations of Broadway legends have played the role of Dolly, and Peters is (more than) up for it now: “When I took on the role, though, I just — I started from scratch. I read the script, I read The Matchmaker — the play that Mike Stewart wrote [Hello, Dolly!] from — and I found this person, this woman. I found the woman that I would play in it, the Dolly I would play.”
These two organs are being replaced, for good reason: “‘It is soul-numbing to play that thing,’ Mr. Wachner, the church’s hard-driving director of music and arts, said of the digital instrument in Trinity Church, on Lower Broadway. He also called the Schlicker pipe organ, long resident in St. Paul’s Chapel, Trinity’s historic satellite a few blocks north, ‘tendinitis central.'”
Look, they were just better than sprawl. Truly. “The mall is for shopping. It sounds idiotic to say, or tautological at least. Of course the mall is for shopping. But more specifically, it gives shopping a specific place. The mall separated commerce into its own, private lair, and it did so just as commercialism was running rampant and out of control in the progress-fueled mid-century.”
After working in other careers and getting inspired by sculptures he saw through a window in Paris, “Mr. Harvey became a masterly sculptor of intricately detailed, realistic bronze figures whose works were exhibited by Tiffany & Company in its Fifth Avenue flagship store, have been collected by museums, and were purchased by Henry Fonda, Jamie Wyeth, Barry Manilow and Danielle Steel.”
Author Justina Ireland has a theory: “Every day is a new and terrible terror coming at you from the news, and it’s just nonstop. … I think people are feeling overwhelmed. And that’s a great metaphor for a zombie invasion. Like, that is the iconic scene for a zombie invasion, a horde coming to overwhelm a town or a mall or a handful of survivors.”
The accusations (anonymous at first) sparked an intense discussion as “at an awkward moment for the industry, which had gathered Monday at the American Library Association’s midwinter meeting in Denver to announce its most coveted awards for children and young adult literature.” Agents, editors, and publishing houses dropped some of the most famous male authors in young adult literature as the week went on.
Jewelry designer Douriean Fletcher met costume designer Ruth E. Carter by chance, twice – the second time when she was playing an extra and getting a costume fitting on the set of “Roots,” designed by Carter. “‘At first, I didn’t even recognize her,’ Carter said recently. ‘But when I did, I told her to take off her costume and get to work creating pieces on my show.'”
“I wanted to read Lolita because I believed it would mitigate my sexual shame. The similarity between the novel’s plot and my day-to-day life had sent me on a Google search, where I read excerpts and watched trailers of both film adaptations, categorized under ‘crime,’ ‘drama’ and ‘romance.’ Until then it had never occurred to me to consider my relationship with my uncle under any of those genres.”
Artist Kyle Langlois, who “has been doing custom airbrush art for 14 years, told me he got connected to Martineau in 2013. ‘He wasn’t too specific or picky,’ Langlois said,’he was hoping I could maybe put a leaf on it for him or something — something to make it Canadian.’ Langlois, who painted the helmet for free because he felt ‘a call to duty’ to assist a fellow Canadian, did a lot more than put a leaf on it.”
Cowboy poetry goes as far back as the late 19th century, when herders were known to recite original poems sitting around their campfires at night. Those poems mimicked the popular verse of their day, at least in form—they never veered into free verse, and they featured a singsong rhythm. Cowboy poetry continued for the next 100 years or so in this fashion, confined to fleeting performances in hushed fields, until 1985, when a group of folk historians used a small grant from the National Endowment for the Arts to create the Gathering in Elko with a simple purpose: to bring together men and women who craved poetry that valued and found beauty in their rural existence.
Philip Kennicott: “One fundamental strategy of political art is to say: This ugly image is who we are, and then challenge the audience to deny that, in word and deed. By forcing us to confront the great fetish of American culture, its slavish worship of the gun, the Hirshhorn could dramatize a choice we face, and a decision we have avoided for generations now. There has never been a more urgent moment to project that challenge at Americans, and hope they finally are sickened by the idea.”
Michael Phillips: “Whenever there’s another mass murder in our country, action films become a strange and ghoulish experience, beyond whatever the filmmakers have created for our consumption. There are times when the gun fatalities and revised statistics get to you. They’re too much. Too much. There are times when movie slaughter, and extravagant, adrenaline-pumping shootouts, cannot easily be enjoyed.”
The push to build a performing arts component at the World Trade Center site has had more reversals of fortune than a Greek drama. But the project took several steps forward this week with approval of an agreement for a 99-year lease; an announcement that nearly $300 million had been raised and the naming, Friday, of its first artistic director: Bill Rauch, who leads the Oregon Shakespeare Festival.
Justin Goldman filed the lawsuit after he snapped an image of New England Patriots quarterback Brady, Boston Celtics general manager Danny Ainge and others on a street in 2016. Shortly thereafter, he uploaded the photo to Snapchat. The photo then went viral, with others uploading it to Twitter. Subsequently, various news organizations embedded the tweets with the image in stories about whether the Celtics would successfully recruit basketball player Kevin Durant, and if Brady would help to seal the deal. Goldman sued some of these news outlets.
Hundreds of millions of people with disabilities live in cities around the world. By 2050, they will number an estimated 940 million people, or 15% of what will be roughly 6.25 billion total urban dwellers, lending an urgency to the UN’s declaration that poor accessibility “presents a major challenge”.
With input from three choreographer-dance scholars, fine art journalist Natalie Cenci answers the questions “What is contemporary dance?” (and how does it differ between the U.S. and Europe), “How does contemporary dance differ from performance art?”, and how a beginner should approach watching the genre.
Mark Shenton: “I always apply the test I also use on theatre tickets to assess how useful they are: would I pay ready money to have one? And the answer is hardly ever. Yet theatre programmes have become a habit for many. They are part of the theatregoing ‘experience’ and a happy aide-memoire of the show. But, I often find the information I need just as easily online. A front of house notice will typically list the cast at a particular performance – especially important with long-running shows where substitutions often appear. So I simply take a photograph of it.”
“[President Jefferson] knew that future mapmakers, naturalists, and other scientists would rely on the valuable first-hand knowledge that Lewis and Clark collected. He encouraged them to make their observations ‘with great pains and accuracy … for others as well as yourself.’ That meant that every time they encountered an unfamiliar plant, animal, landscape feature, or cultural item – the Louisiana Territory and the western portion of the continent teemed with them – they had to invent a new term.”
Howard Sherman: “It’s hard to stay fully positive when, in the 35th year of my career in the arts, I realise the NEA has been under some form of attack almost annually since at least 1990 – fully three-quarters of my professional life. Trumpism may have us on ever more heightened alert, but there’s never really been a moment when we could truly relax regarding this issue. If our community did, we were losing ground.”
“What makes bibliomancy fascinating is that unlike other forms of divination, it trades in something which already has an interpretable meaning – words. Perhaps a butcher can figure out the narrative that a sheep’s liver conveys, but that The Aeneid, as indeed all texts, has a meaning requires no suspension of disbelief, even if the meanings which are being derived seem far from authorial intention.”
Scott Beauchamp: “The spiritually inverted radicals of the Sixties who sacralized their politics and secularized their spirituality – blame Reich and Marcuse – read Kerouac with blinders on. They only saw what they wanted to see, and what they wanted to see was a celebration of the ‘freedoms’ of hedonism. … The truth is more complex and so much more interesting: Kerouac” – who described himself as a “strange solitary Catholic mystic” – “was one of the most humble and devoted American religious writers of the 20th century.”
“Nymphetmania has a long and hoary pedigree in Hollywood, and flourished years before Nabokov gave us the Lolita syndrome” – from DW Griffith’s child-woman ingénues such as Lillian Gish and Mae Marsh through Taxi Driver and Pretty Baby right up to late Woody Allen. “It is no longer possible to rationalise as consensual certain egregious pairings, or to accept with equanimity the sexualisation of underage performers. We have begun to take a second look at the smarmy overtones of movies such as Allen’s Manhattan and Louis CK’s now-shelved I Love You, Daddy, in which ‘protective’ older men ogle daughter figures in utterly self-serving ways.”