The space above the hall was a haven for artists of all stripes for many decades. “For Ms. Sargent, Carnegie Hall was as much sanctuary as studio. She moved there to distance herself from an abusive husband who drank, she said. Her starting rent for Studio 901, a well-lighted apartment with a lofted bedroom, was $188 a month.”
The Bard turns 453, and Stratford-upon-Avon is not missing out on a parade for the man.
Today, our most famous purveyors of ideas sell themselves to the wealthy much like the courtiers of the Middle Ages. Daniel Drezner notes that these ideas are therefore shaped by the “aversion” that plutocrats share toward addressing the problems we face. Inequality? Global warming? Populist nihilism? An explosion of global refugees? From a Silicon Valley perspective, Drezner notes, such things are not a failure of our system but rather “a piece of faulty code that need[s] to be hacked.” Examining data from a survey of Silicon Valley corporate founders, Drezner notes their shared belief that “there’s no inherent conflict between major groups in society (workers vs. corporations, citizens vs. government, or America vs. other nations).”
“[He] is perhaps best known for taking on the role of Siegfried in Götterdämmerung for Bayreuth’s centennial Ring cycle … He also garnered fame for being one of the few tenors to sing every single tenor role in Wagner’s Ring.”
“At a time when opera houses are more and more trying their hand at presenting musicals (the bone of contention among opera-lovers is whether this is a great thing or a betrayal of the art form), “Carousel” is one of the musicals most often cited as quasi-operatic. Indeed, the role of Nettie Fowler, which Fleming will play, was originally written for an opera singer, Christine Johnson, in 1945, and has often been sung by opera singers since — Denyce Graves, Shirley Verrett and Stephanie Blythe are among previous interpreters of the role.”
“The students laughed. Then, as if fearful that they’d overstepped some boundary, they peered down the length of the seminar table at me, as if to see how I’d react. Since I wanted to show them I was a good sport, I smiled broadly. But what I was thinking was, This is going to be a nightmare.”
She was the first Ethiopian girl to be sent abroad to study, the first woman in the country’s civil service, and the first female to sing in an Ethiopian Orthodox church service; she raced a horse and carriage around Addis Ababa and sang for Haile Selassie; she was thoroughly trained in Western classical music, but spent a decade as a barefoot nun at a hilltop convent; she fled from the Communist junta and settled in Jerusalem, where she’s spent decades creating music like no one else’s. Meet Emahoy Tsegué-Maryam Guèbrou.
Known for an extensive discography on the Erato and EMI labels and for his posts with the City of Birmingham Symphony and Sydney Symphony, Frémaux “was the only major orchestral conductor to serve two spells as an officer in the Foreign Legion.”
“Even more astounding than Hendricks’s astute color sense, and his intricate handling of his subjects’ sartorial choices, was the almost-preternatural skill he had for crafting portraits that exude psychic states.”
“The billionaire Campbell Soup Co. heiress … has given support, much of it quite substantial, to the University of the Arts, the Zoological Society of Philadelphia, the Kimmel Center for the Performing Arts, Main Line Health, the Morris Arboretum, WHYY, the Philadelphia Museum of Art,” and numerous educational endeavors.
“I miss art terribly. I’ve never really talked about my work to anyone. In my writing, I’ve occasionally mentioned bygone times of once being an artist, usually laughingly. Whenever I think of that time, I feel stabs of regret. But once I quit, I quit; I never made art again and never even looked at the work I had made. Until last month, when my editors suggested that I write about my life as a young artist.”
“Philanthropy has changed greatly from the days when wealthy people donated to a museum or hospital and got their name on the wall (though that still happens). The big money now is going to a battle over ideas shaping political discourse, education policy, health care research and more.”
The Catcher in the Rye, which spent thirty weeks on the New York Times’ best-seller list, had generated immeasurable publicity and adulation for Salinger, who wanted none of it. Among his new suitors were such Hollywood bigwigs as Samuel Goldwyn and David O. Selznick, both vying for the screen rights to Catcher. They failed to secure Salinger’s approval, as did many others, in turn—but that didn’t stop Bill Mahan, an unemployed former child star and devoted fan from Los Angeles, from giving it a shot. In the early sixties, he resolved to claim the film rights himself, even if it meant disturbing Salinger at home.
“I am the peer of whoever I’m talking to. If I am talking to a 15-year-old, that’s who I am. If I’m talking to a 50-year-old, that’s who I am. I see too many 75-year-olds who seem much older than I feel. I’m aware I’m an older person, and I wish my back didn’t hurt and my legs didn’t weigh 1,000 pounds. But I go to bed at night and can’t wait for the first taste of coffee in the morning.”
When the Frosts moved into their building, the Village was still a thriving creative enclave. The neighborhood became a sort of engine for Western culture after World War II, with Beats, artists, musicians and oddballs flooding the cheap, drafty rooms in rundown brownstones. On Ninth Street alone lived Dawn Powell, Marianne Moore, Astor Piazzolla, Barbra Streisand, Maurice Sendak and Jimi Hendrix.
“Much of the visual dynamism associated with Fassbinder and Scorsese must be credited also to Ballhaus. There are the complicated but elegant compositions in Fassbinder, for example, where closeups, reaction shots and the simultaneous movement of actors are often incorporated into a single frame without recourse to cutting … There are the accelerated zooms and dolly shots in Scorsese’s films, where the camera rushes toward a face or an object to afford it special emphasis.”
“The successful completion of the [difficult and troubled] project was due in no small part to Morahan’s tenacity and dedication. Tall and commanding, on set his directorial cry of ‘why wasn’t this done earlier?’ could make the most hardened crew member tremble.”
“Now 47, and a new kind of public figure thanks to the Sugar Baby, Walker remains suspicious of herself, and of the world, however much it has come to celebrate her, expressing to me the bewilderment of a thinker for whom no level of success can stamp out a phobia of personal self-satisfaction — or, worse, infidelity to craft.”
McKissack and her husband wrote, “she said, ‘to tell a different story — one that has been marginalized by mainstream history; one that has been distorted, misrepresented or just plain forgotten,’ and she urged other blacks to write more, too.”
Herzog says his humor has been buoyed over the past 20 years by his living in Los Angeles, which he turned to after things didn’t work out with San Francisco. “My wife and I found it not the most exciting place in the United States and we said we want to move to the city with the most substance, and it was immediately clear that Los Angeles, that’s the place.”
While Trump recently signed two bills to encourage women to pursue careers in STEM, there are no arts-and-humanities equivalents. And Trump’s budget proposes doing away with the National Endowment for the Arts entirely. Madeleine Johnson, for one, believes “women in the arts are in the shadow of STEM, because it is a field with more power, more sway, and more funding.” Other female artists agree. Has the push toward STEM inadvertently stymied women in the arts and humanities?
Kay Redfield Jamison, a specialist in manic depression and other mood disorders, talks about how Lowell’s poetry changed after being treated with lithium, his own attitude to his mental illness (and that of several of his well-known contemporaries), and the ethics of using the medical records she used (and those she chose not to use) in writing a book about Lowell.
“The paper, issued last month by the National Bureau of Economic Research and written by economics professors from Stanford and Brown Universities, found that the growth in political polarization was most significant among older Americans, who were least likely to use the internet between 1996 and 2012, the years for which data was available when the paper was written.”
When she found success in television commercials in the 1960s (Oxydol, Tide, Ivory Snow, Thomas’s English Muffins, American Express), she said that “I had to learn to act all over again for TV.” So she created a school to teach Sanford Meisner technique adapted for the requirements of the small screen – a school that grew, changed names twice, and is here today.
That expectation of the professional, 24-7 politician wasn’t there in the late nineteenth and early twentieth centuries. The last proper intellectual Prime Minister was Arthur Balfour, in Downing Street from 1902 until 1905. Balfour may not have been a great Prime Minister, but he was a serious philosopher. His series of Gifford Lectures in 1914 at Glasgow University, on “Theism and Humanism”, were published as a book in 1915. C. S. Lewis said it was one of the ten books that influenced him most.
In correspondence with her former therapist, Plath alleged that her husband told her to her face that he wished she were dead and that he beat her just two days before her miscarriage.
In partnership with her husband, Fredrick, “[she] chronicled African American history and Southern folklore in more than 100 early-reader and picture books, including award-winning works about chicken-coop monsters and a girl’s attempt to catch the wind.”
Olga “appears to have inherited her father’s dynamism, her mother’s striking looks, and their shared persistence, and for the time being, both institutions continue apace. Like her father, the Rostropovich Festival is likely to be better known outside of Russia. Like her mother, the Vishnevskaya Center occupies a significant role at Russian opera’s heart.”
CBC, Canada’s public broadcaster says it never meant to offend “anyone or any group” and did not intend to “diminish the importance” of stories that were left out of Canada: The Story of Us, which was meant as a marquee program to commemorate the 150th anniversary of the country.
After a four-decade gospel career (she was discovered by Mahalia Jackson), she began performing on Broadway in such shows as Purlie, Inner City, Me and Bessie (as in Smith), and Black and Blue.