“What makes that era seem if not golden then at least more sophisticated is that by comparison, local television today, Boston included, is in the doldrums. For the declining influence of local television, and for the withering influence upon younger viewers, executives blame the internet and the profusion of cable options. A reason they do not acknowledge is that it was made easier by the decline in quality since the era.”
While authorities were aware that a small amount of looting had taken place, they did not realize the extent of the destruction until it was too late. The largest pyramid on the site of Nohmul (also known as Noh Mul), the most important Maya site in Belize, had been reduced to just a core of rubble.
Actor and writer Tania Richard: Who’s Afraid of Virginia Woolf “is not about a dysfunctional couple who is also possibly racist. It’s not about a Black man trying to make it in academia either. Mr. Streeter’s casting of a Black actor within the time period, on a small campus with two predatory characters cannot happen unless the Black actor’s skin color is ignored, overlooked and ultimately sacrificed for the story. Theatre is not the place where minority actors need to be sacrificed. It’s been done.”
Greg Miller, who has worked at the theater for 27 years, said he was blindsided by the decision. But in retrospect, he should have have predicted changes were afoot — especially after he was told he no longer had to attend the annual board retreat. “I found it that odd since I’m the head artistic officer in an arts organization [and] I was no longer required to come speak at board meetings when my job description states that that’s required of me.”
“It’s probably not a realistic or even practical list, but let’s indulge in a little blue-sky thinking.” Tim Wilmott’s list includes the obvious (physical and vocal training), the practical (balance film and stage training), the controversial (drop improv and Meisner), the dubious (political radicalisation), and, possibly, the hopeless (we’ll let you guess which one that is).
“In today’s America of drastically reduced civic expectations, Snøhetta’s quietly brilliant reconfiguration of Times Square is an exemplar of how much can be achieved in city planning without the gigantic financial outlays and dire social displacements that typified American postwar urban renewal projects.”
“Dylan submitted his lecture, four thousand and eight words long, to the Swedes on June 5th. You can read it here, and listen, too; Dylan made a recording of his text, speaking for twenty-seven minutes over a smoky, meditative jazz-piano arrangement. Not for him, the sombre pomp of the podium. He sounds like a lounge singer lost in contemplative patter, just letting the thoughts flow. Pour yourself a whiskey, honey, pull up a chair, and stay awhile.”
He was trying to shape an indigenous regional architecture for Southern California. And he was attempting to put a definitive end to — to bury for good — a deeply troubled decade in his personal and professional lives. The regionalism of the houses, their response to the landscape, history and climate of Southern California, is at once their most powerful and most naive feature.
“The democratisation of consumer goods has made them far less useful as a means of displaying status. In the face of rising social inequality, both the rich and the middle classes own fancy TVs and nice handbags. They both lease SUVs, take airplanes, and go on cruises. On the surface, the ostensible consumer objects favoured by these two groups no longer reside in two completely different universes. Given that everyone can now buy designer handbags and new cars, the rich have taken to using much more tacit signifiers of their social position.”
It was different from the calls for “resistance” art we have been seeing in other Western countries because, this time, the existential threat being responded to was not part of out own culture; it was from outside. One could talk of a difference between “protest art” (aimed at Western-generated political problems) and “solidarity art” (designed to lift morale in the face of terrorism). And although the solidarity art is not a complaint directed at any particular state or policy, it nevertheless serves a uniting and inspiring function.
“Richard Brautigan’s first novel sold less than 800 copies. His next novel sold 4 million copies. Trout Fishing in America turns 50 this year, and while most novels of that age now seem dated, Brautigan’s work seems particularly so: playful, goofy, fragmentary, optimistic. Trout Fishing in America is worth revisiting for exactly its status as an artifact of that time, a book that reveled in language, and made its writer into an imperfect legend.”
“Study after study … suggest[s] the ways that popularity imprints itself on people’s lives, far beyond the teenage years, through both its presence and its absence. Popularity affects people’s ability to find success in their careers, regardless of their intelligence or their work ethic. It affects their ability to find fulfilling friendships and romantic relationships. … [It’s] much like class in America: It divides people. It defines people. Yet we generally treat it as a relic of the past – as something that was, once, but that thankfully is no more.”
“For humans, a sketch is a depiction of a real thing. We can easily understand the relationship between the abstract four-line representation and the thing itself. The concept means something to us. For SketchRNN, a sketch is a sequence of pen strokes, a shape being formed through time. The task for the machine is to take the essences of things depicted in our drawings and try to use them to understand the world as it is.”
Video games are an art form. They make a player feel. “Journey” helped me understand how and why games could make me feel just as much books, movies and TV do.
“What follows are some highlights, beginning with the first private airing of the efforts of Pasek, Paul, Levenson and all their collaborators. It’s a shorthand mapping of Dear Evan Hansen‘s march to critical and popular acclaim and its position as one of the more remarkable shows in recent musical-theater history.”
Lee Camp, an “acerbic left-wing comic,” hosts a weekly show called Redacted Tonight on RT America, the Russian-funded cable network. Jason Zinoman looks at the show and its host – and at Camp’s visible discomfort when asked about the one American political issue that his counterparts make hay with but he doesn’t touch.
“The annual gathering [in Southern California] is seen as a litmus test, suggesting where contemporary Western art music is headed. [Vijay] Iyer is the first jazz musician – and the rare artist of color – to serve as music director, a position that rotates every year. He has paid less attention to the festival’s history than to the opportunity it presents.”
Joanna Walters visits a choreographer in Ohio who created dances based on ailing seniors’ life stories, the director of a literary center in Idaho that gives writing classes and workshops to low-income kids, an award-winning poet and novelist in New Mexico whose early-career NEA grant kept her and her husband off food stamps, and the community arts center in Florida that taught the writer of the Oscar-winning film Moonlight.
The problem with problems
If you work in the arts in higher education (or any education, for that matter), you are likely talking or hearing more about “complex problems,” or perhaps “wicked problems.” These are shorthand for … read more
AJBlog: The Artful Manager Published 2017-06-07
Old world order
It’s hard to dismiss someone who looks you in the eye and tells you their truth. We were in the front row for Atlas des Kommunismus at the Gorki Theatre in Berlin, so the … read more
AJBlog: Performance Monkey Published 2017-06-07