“When she came across Kathak, the staccato rhythms of the dance form reminded [choreographer Helena] Waldmann of the rapid needle of a sewing machine. She saw the stomping footwork of Kathak as the perfect symbol of the pressures faced by garment workers.”
“The Academy has managed to nominate one of its least-commercial best picture slates ever: six indie films (“Boyhood,” “Birdman,” “The Imitation Game,” “The Theory of Everything,” “Whiplash” and “The Grand Budapest Hotel”) and two studio features (“Selma” and “American Sniper”) that have yet to open in wide release. So far, the highest-grossing movie of the best-picture nominees is “The Grand Budapest Hotel,” at a modest $59 million domestically.”
“The Boy Who Came Back From Heaven” was first published in 2010 and told of a 2004 auto accident which left Malarkey in a coma. According to the book, co-written by Alex’s father, Kevin Malarkey, he had visions of angels and of meeting Jesus. In 2014, Tyndale reissued “The Boy,” which on the cover includes the billing “A True Story.” As reported by Nielsen BookScan, which tracks around 85 percent of the print market, the book has sold nearly 120,000 copies.
“Data suggests that audiences are agnostic in their habits of cultural consumption — and increasingly ambivalent about the platform by which they consume that culture. The Innovators Dilemma suggests that those who look with condescension upon the competitive emergence of cheaper, arguably poorer quality cultural products do so at their own peril.”
“I don’t like the whole system, the way American symphonies are organized,” he said last week, speaking by Skype from Berlin, where he and his family (he has two young sons) are now largely based. He has made no secret of his views, telling interviewers that orchestras have to change or risk dying out. The rest of the world, increasingly, is hailing him as a visionary.
“As museumgoers, we’re used to looking at art, but a new project from filmmaker and artist Masashi Kawamura inverses the traditional relationship of viewer to artwork. For his blog What They See, Kawamura has taken photographs from the perspectives of famous artworks, inviting us into their visual fields. We see what they would see – if they could see.”
“The virtual museum was designed to look just like a real one. The works hang on spare white walls, surrounded by ornate frames. An audio guide walks visitors through the halls. For Schneider, recreating the traditional museum environment was a chance to restore some dignity to these stolen works, which often just exist as thumbnail images on FBI and Interpol websites.”
“Sung in English and Spanish, which are intertwined to create clever rhymes, ‘¡Figaro! (90210)’ finds the titular hero working in Beverly Hills as an undocumented gardener. The basic plot remains the same–a lecherous boss tries to seduce his employee’s fiancée on the eve of her wedding–but Guerriero has reimagined the characters as distinct L.A. archetypes.”
“There are those who expect that whatever alternative cultures they encounter through social media must comply with their own aesthetic or moral framework. They feel entitled, not just to enter spaces and places where they do not necessarily belong, but also to demand censure and closure if they don’t like what they find there.”
“In one corner is Roy Niederhoffer, a former City Opera board member backing a plan to reboot the company under the direction of Michael Capasso, the head of a small Manhattan opera company in the process of being wound down. In the other is Gene Kaufman, an architect who has also expressed interest in restarting City Opera but whose prior proposals have failed to win favor with the defunct company’s board.”
“In some of the discussion surrounding the case, there has been an implication that Muslims (and other non-Westerners, for that matter) don’t have the rich satirical tradition found in places like France. That’s not quite true. Satirical traditions may not be the same in France as they are in Iraq or Venezuela. But the mocking of rulers, politicians and pretensions has long had a place in every culture.”
Carlos Izcaray, a Venezuelan-born conductor, 37, “has been announced as the new music director of the 53-member orchestra, taking over the baton from previous director Justin Brown. Izcaray, who lives in Germany, will move to Alabama with his family later this year and begin his official tenure as maestro in September.”
“Throughout her work, Ms. Summers was fascinated by the interplay of form and movement, something, she realized, that dance and film could exploit both singly and in combination. Through film, she was able not only to capture the motion of a dance itself, but also to add contrapuntal movement through camera work and cutting.”