In response to the accusation from an unnamed former co-worker, Minnesota Public Radio will cease distributing reruns of old Prairie Home Companion shows and merchandise as well as Keillor’s Writer’s Almanac; the current PHC with Chris Thile will be renamed. Keillor himself has given responses to The Star Tribune and on Facebook.
“I haven’t figured it out. But it’s settled on me, and it’s just there. … All my life, I’ve mouthed off about how I should stop acting, and I don’t know why it was different this time, but the impulse to quit took root in me, and that became a compulsion. It was something I had to do.”
Should a writer be socially engaged? Is it a part of our duty? I always return to the poet and teacher Marie Ponsot: “The duty of the writer is to the welfare of the work.” Not to some political party or cause or ideal—which through making our art more useful might somehow rob it of its integrity, its wonderful, vital uselessness—but simply to the work itself.
“[He] used specially treated pieces of glass that he mounted on walls and in metal braces to refract and reflect dazzling beams of color.” As he once told an interviewer, “Instead of using paint to capture light, I’m actually painting with light, taking it a giant step forward.”
Dubbed “the world’s sexiest soprano” by People magazine in 1975, “Ms. Neblett was a supremely confident and, to many critics, supremely talented singer and actress, known for her charming, often sensual portrayals of comic characters and dramatic heroines.” She made operatic history in 1973 as the first opera singer to appear in full-frontally nude onstage.
“Once dubbed the ‘poet laureate of jazz,’ Mr. Hendricks expanded the vocabulary of jazz singing as the leading exponent of a style known as vocalese. He wrote witty lyrics for dozens of jazz tunes that otherwise had no words. Moreover, as a vocalist, he performed at breakneck speed, winning the admiration of such jazz giants as pianist Art Tatum and saxophonist Charlie Parker.”
We tend not to associate aging with creative bursts. Historically, critics saw advancements by elderly artists as peculiar… Many older artists, however, sense the significance in their new creations, even if the public reacts with hostility.
Calloway founded the museum in 1976 as part of the outgrowth both of her activism and of a historical society in Omaha, Nebraska. Her son called her one of the last of the “true icons” of north Omaha. Her museum had been through both good and hard times, but it just reopened in a new facility earlier in the fall.
Parul Sehgal has rather a lot to do, and she’s fine with that. “I only care about doing the work. I have zero other ambitions. I’m the laziest, least socially ambitious person, ever. And I don’t get off on the punitive power of the critic; you know that brand of critic, the scold, who has appointed himself to keep the ecosystem clean. That’s the kind of thing that I find very uninteresting. Taxonomizing has very little to do with how and why people read.”
Here’s how it went down in the beginning, according to Carol Burnett herself: “I had this terrific and unheard-of contract that read if I wanted to push that button, the network would have to give me 30 one-hour comedy-variety shows. … I said, ‘That’s what I want to do.’ And they said, ‘Oh, no, no, no. Carol … all comedy-variety shows are hosted by men — Sid Caesar, Jackie Gleason, Milton Berle, Dean Martin … It’s not really for you gals.’” Yeah, wrong.
Her shop was like a (crowded, metal-and-ribbon-smelly) office of therapy for writers when the typewriters clogged up. “The shop attended to the typewriters of such well-known writers as Isaac Bashevis Singer, David Mamet, Erich Maria Remarque, Nora Ephron, Gene Shalit and Philip Roth. Joseph Heller had a Smith-Corona with keys that flew off (they were soldered back on). The novelist David Handler was so grateful for Mrs. Adelman’s assistance that he made her a character in a mystery, The Girl Who Ran Off With Daddy.”
The FBI’s focus on black musicians has its roots in the agency’s Counterintelligence Program (COINTELPRO), which led to the surveillance of several of the most important black jazz musicians of the mid-20th century.
“[He] gave Modernism his personal, often whimsical spin, putting portholes in buildings in New York and using things like ashtrays and salvaged convent windows in unusual ways in houses in New Orleans.”
“Perhaps Charles Manson also remains a source of such horror and continued fascination because he was the ultimate symbol of insanity. With eyes that either projected total blankness or the agitated evil of a demon awakened, Manson looked like what most people stereotypically think of when they imagine a crazy person. In what may be the craziest time that many Americans have lived through, it makes twisted sense, then, that the most recognizable American psycho is still so omnipresent in our culture.”
“He began writing both feature stories and critical reviews [on opera, classical music, and theater] for Pasatiempo [magazine] in 1990 and continued to contribute to both Pasatiempo and The New Mexican after he left the staff around 2010 until the time of his death.” He was also the author of a 2015 biography of Santa Fe Opera founder John Crosby.
“German police recovered around 100 items that belonged to late Beatles star John Lennon that were stolen from his widow in New York, including three diaries, two pairs of his signature metal-rimmed glasses, a cigarette case and a handwritten music score.”
“A favorite of audiences thanks to his alluring voice and heartthrob presence, Mr. Hvorostovsky cut a striking figure, his trim 6-foot-1 frame topped by a mane of prematurely white hair. He also had a compelling personal story: He escaped the street-gang life as a teenager in a grim Siberian city, found his talent there despite the region’s cultural isolation, and overcame a tempestuous drinking problem that could have ruined his career.”
One of Scotland’s leading critics, he spent a quarter-century at each of the country’s major newspapers, The Scotsman and The Herald.
The actor received a seven-figure settlement from Boone over a $190,000 Ross Bleckner painting he bought in 2010 that turned out to be a different painting than the one she promised to deliver. The agreement, reached last month and finalized on Friday, concludes a civil fraud case that was scheduled to head to trial next year.
“Reared in gospel, Reese became a seductive, big-voiced secular music star with her No. 1 R&B and No. 2 pop hit ‘Don’t You Know’ in 1959. … She ranged through a series of releases that showed off her mastery of standards, jazz and contemporary pop through the early ’70s, and over the course of her career she received four Grammy Award nominations.” She went on to become an even bigger star on television, where she was the first black woman to host her own variety show and played major roles in Chico and the Man and Touched by an Angel.
“An algorithm-based vetting process has real issues. So few immigrants have committed acts of terrorism, that a computer program couldn’t even generate an accurate predictive model, the coalition of tech experts from some of the U.S.’s top universities and research groups says.”
The Australian took over the Printed Matter book fair in New York in 2013. Printed Matter is “the granddaddy of such gatherings, and [Cane] transformed it into a radically inclusive affair, attended by venerable rare-book dealers alongside obscure zine makers so scrappy they could barely afford the plane fare to participate.”
As the legend gets a lifetime achievement award, and during the 55th anniversary of the Supremes’ debut, Ross says, “Motown was genius! It put all of this energy together and created music that traveled around the entire world. Berry Gordy had a vision, and so did I. We were surrounded by [so much] talent, and that combination of harmony and family became one.”
We would know so little of dance without him: “Bhargava edited films that captured the work of Balanchine, Peter Martins, Bob Fosse, Merce Cunningham, Martha Graham and many other prominent choreographers, in the process creating an archival record of a genre that had historically been difficult to preserve. And through Dance in America and other television work, he spread the art form to people who might not have been able to get to a theater.”
“I expect art to be troubling because I expect people to be troubling. I am prepared to like and dislike something in every work. I can also appreciate the aesthetic genius of a moral monster without feeling that I am becoming inured to monstrosity. Just as I can read Heidegger without becoming a Nazi, I can look at one of Adolf Hitler’s juvenile watercolour paintings and appreciate a bit of pink in the sky there, and understand it as a painting of its era and one by a tyrant at the same time. And if I do this and am judged immoral for it, is it because it is bad for just me or bad for society at large?”
Those affected said they “felt unable to raise concerns”, and he “operated without sufficient accountability”. The London theatre said it “truly apologises” for not creating a culture where people felt able to speak freely.
He was one of the two attorneys whose groundbreaking defense prevailed in the 1960 obscenity trial of Penguin Books for publishing Lady Chatterley’s Lover; eleven years later, he won a more difficult case against Paul Ableman’s The Mouth and Oral Sex, establishing the “literary merit” argument. “He added a service to the arts by ending the cultural vandalism of Mary Whitehouse, whose attempt in 1982 to prosecute the National Theatre for staging Howard Brenton’s The Romans in Britain collapsed after his (and the Old Bailey’s) most remarkable cross-examination.”
“I was five when my neighbor in Santo Domingo bought the first set on our street, the first I’d ever laid eyes on. … Maybe I would have been O.K. if I’d seen anything else: the news, a variety show, a political debate. But my earliest exposure to television was a Spider-Man cartoon … My father’s absence made perfect sense. He couldn’t come back right away because he was busy fighting crime in N.Y.C. . . . as Spider-Man. The diasporic imagination really is its own superpower.”
He held some of the most prestigious positions his profession had to offer – at the Cathedral of Notre-Dame, Saint-Séverin in Paris, and the Chapelle Royale at Versailles – and he was a pioneer, as performer and scholar alike, in reviving the organ repertoire of the 17th and 18th centuries, notably on historical organs. His large discography includes one of the most admired sets of J.S. Bach’s complete works for organ. (in French; Google Translate version here)
Sontag the personality has grown so large in death that it threatens to eclipse her work: She is remembered as a narcissist, a pugilist, the enemy of Camille Paglia, and a genius.