“The Miami dialect is not a second-language accent, like you’d hear from a Cuban immigrant whose first language is Spanish. It is an American English dialect … spoken by native-born Americans. Which doesn’t stop the accent from seeming foreign to others: [FIU linguist Phillip] Carter says that his students will sometimes find themselves in a neighboring county, only to be asked what country they’re from.” Dan Nosowitz looks at the ingredients in this sancocho of speech patterns.
In 2010, then-Secretary of State Hillary Clinton gave a major address on the worldwide importance of an “internet freedom agenda”; in 2017, one could forgive her for being a bit ambivalent about that. “The internet freedom agenda presumed the benefits of the free flow of information only cut one way: in favor of open societies, values, and ideals. But we’re now seeing that its destabilizing effects cut both ways. And that doesn’t bode well for the borderless internet we enjoy today.” Ben Moskowitz considers the pros and cons.
It all started with the Micro Teatro Por Dinero in Madrid in 2009: ten-minute plays performed in very close quarters at three euros a ticket. (It was the start of the financial crisis.) “[Now] the Micro Teatro Por Dinero franchise has been sold to venues in 15 different cities around the globe, including Buenos Aires, Mexico City, Lima, Lebanon, even Miami.”
“The French government raised eyebrows recently when it decided to back the creation of a large-scale international drama fest in Northern France’s Lille, which it wants to become the TV counterpart of the iconic Cannes Film Festival. The announcement came as city officials in Cannes itself said they would create their own rival international drama festival to run alongside MipTV.”
“Net domestic migration to New York City metro area (which includes the five boroughs plus slivers of New Jersey and Pennsylvania) is down by a whopping 900,000 people since 2010. That means that, since 2010, almost a million more people have left New York for somewhere else in America than have moved to New York from another U.S. metro—more than any other metro in the country. This is the “fleeing” that the Post finds so “alarming.” But the New York metro has also netted about 850,000 international migrants since 2010. That number is also tops among all metros—more than Miami, Los Angeles, and San Francisco, combined. So, that’s the story of New York City, today.”
“Should an artist be prohibited from painting certain subjects because of her background, and what happens to the fluidity of culture if artists are fenced-in by their identities and ethnicities? Does perceived injustice resulting from the appropriation of black suffering justify censorship? Or is the destruction of art fundamentally illiberal?”
“Librarians spent decades figuring out how to best organize its constantly growing collections, which would render systems dated as their contents reflected new industries, and thus required new vocabularies. Heads butt over how to organize the stacks; casual rivalries even arose between librarians who had different visions.”
Columnist Carol Cling: “Seems we’ve heard this song before. Not that Las Vegas’ cultural boosters could ever ignore the siren call of a major local art museum. At least the folks behind the latest attempt – the backers of the proposed Art Museum at Symphony Park – seem to be doing the right things.”
Film and documents “are among the highlights from the Joffrey’s archive, which has been donated to the New York Public Library for the Performing Arts’s Jerome Robbins Dance Division. The gift coincided with the company’s return to New York for the first time last week since it moved to Chicago in the mid-1990s.”
“Architects tend to imitate the language of their clients and critics because they themselves are visual, visceral people for whom the thing itself and not a description of it is the dominant motivator. It has always been like that: the architects of the gothic revival spoke passionately in terms of morality and truth because that was the terminology the church-builders who employed them wanted to hear.”
The Moth was founded in 1997 by the writer George Dawes Green — its name comes from his memories of growing up in St. Simons Island, Ga., where neighbors would gather late at night on a friend’s porch to tell stories and drink bourbon as moths flew in through the broken screens and circled the porch light. It has since grown into what its artistic director, Catherine Burns, calls “a modern storytelling movement” that has inspired “tens of thousands of shows worldwide in places as diverse as Tajikistan, Antarctica, and Birmingham, Ala.”
Sarah Cahill: “Composers and musicians need validation, but more than that, they need to feel their work is understood. I see that hunger when guests come on my radio show and talk about themselves, and I hear it from friends who throw everything they have – emotionally and financially and professionally – into a big new project, only to have it vanish into the ether without a trace. We’re all grateful for the excellent music critics in this country, but still miss the freedom and the space they once had, as we miss the daily ritual of reading a beautifully crafted music review.”
Using criticism of Jessica Chastain’s use of a Polish accent in The Zookeeper’s Wife as a jumping-off point, three writers debate whether actors should use an accent from the country the characters are from, their own accents, or some form of a British accent. Each writer has a different answer, and they all have good points.
Amit Lahav of the company Gecko, on The Wedding: “It’s about the social contract that we all have with the state, the agreement in its simplest form that says you will be protected in return for taxes and loyalty. What if you start feeling, as I have, that you are in a forced marriage and the terms of the contract – potential changes to human rights; surveillance – are shifting beneath your feet, what can you do?”
“He’s found them on the streets of Kingsessing and Mantua and Grays Ferry, all over the city: Broken and beat old television sets, cathode ray tubes long gone, many consisting only of angular shells. … It actually makes no difference to Wilmer Wilson IV if the televisions he has found, usually in early-morning wanderings about the city, still play.”
The 44-year-old tenor, famous for his skill at high-flying, difficult Rossini roles, has been named Artistic Advisor. “One of his first projects is to help develop a new opera with jazz musicians Esperanza Spalding and Wayne Shorter that’s expected to premiere in 2019. One of his big goals is to show young people in Philadelphia that opera is cool.” Peter Dobrin does a Q&A with Brownlee about his plans – which, not to worry, include continuing to sing.
More productive, less destructive
One of my favorite moments in any planning or strategy meeting is when someone looks suddenly resolute, and says something like: “You know what the problem is? The problem is that we don’t have a system … read more
AJBlog: The Artful Manager Published 2017-04-04
Acknowledging the Past, Moving On
The Stephen Petronio Company revives works by those who have influenced him and offers a world premiere. … read more
AJBlog: Dancebeat Published 2017-04-04
Guest Report: The NEA Jazz Masters Concert
At the invitation of the RiffTides staff, reader Michael Phillips sent a report about the NEA Jazz Masters Tribute Concert last night at the Kennedy Center. … read more
AJBlog: RiffTides Published 2017-04-04
Unfair at Vanity Fair: William Cohan Muddies the Met Mess
With the intense interest generated by Robin Pogrebin‘s shocking front-page revelations in yesterday’s NY Times about the Metropolitan Museum’s governance lapses, it’s likely that pundits will pile on with commentaries fueled more by indignation and sensationalism than by the deep knowledge … read more
AJBlog: CultureGrrl Published 2017-04-04
From a Secret Location
Once upon a time, hundreds of editors, mainly poets, and all manner of bohemian riffraff took to their mimeo machines. They produced an avalanche of little magazines, … read more
AJBlog: Straight|Up Published 2017-04-04
“This should be a golden age for writers as peak TV has made television a genuine competitor with film in terms of prestige. But with new contract negotiations in the offing, the Writers Guild of America (WGA) and the production bosses have spent much of the past month acting like Truman and Stalin at the outset of the cold war.”
“The legislation offers tax breaks for recording and film scoring projects, as well as attracting groups who want rehearsal space to prepare for tours. If a touring band holds rehearsals and begins their tours in Georgia, and spend over $500,000 here, they will receive a 15 to 20 percent tax credit. Recording projects in Georgia that spend a minimum of $100,000 over a year’s time would also receive a 15 to 20 percent tax credit.”