Jesse Green: “Theater critics thus have the opportunity – provided almost entirely by Shakespeare, since contemporary drama is notably short on gore – to watch hundreds of people die horribly each season. … Rarely do I see the plays done well enough to justify the awfulness they ask us to witness. And if they’re not properly awful, what’s the point? Do Much Ado and be done with it.”
The folks at NPR’s On the Media (not produced by NPR) explain the difference between public radio in general, the actual NPR network, the competitor networks (APM, PRI) whose shows air alongside NPR programs, the local public radio stations where most of us actually hear the shows, and local member stations who produce national programming.
“This was a group of talented kids with open eyes and minds who knew what they liked and what they didn’t. They were opinionated and they were brash. They were radicals. It wouldn’t even be wrong to consider them revolutionaries. The only question is why a bunch of young revolutionaries would want to make art that looks backward.”
“Nicknamed La Mamá Grande, after a story by Gabriel García Márquez, she served as a confidante and coach, someone who paid her writers’ dentist bills and deftly resolved their domestic problems while promoting the greatest Latin American and Spanish authors across the globe, including Mr. García Márquez, Mario Vargas Llosa and many more.”
“Naive as this sounds, doesn’t a bookseller as large as Amazon have a moral responsibility to books? In its early days, founder Bezos saw books more as a foothold for Amazon than a future. But by virtue of its size now, isn’t a business that built its reputation on the back of words obligated not to impede the spread of books?”
“The old overture-concerto-symphony model, with no real relationship among the pieces, gives no identity to a concert, no marketing hook. It’s just another ‘one from column A, one from column B’ mishmash. Slapping alliterative labels for single pieces on concerts — ‘Marvelous Mozart,’ ‘Bombastic Beethoven,’ ‘Ravishing Ravel’ — is pretty lame.”
“It is precisely because Hachette has been so successful in selling its ebooks through Amazon that it can’t afford to walk away from the retailer. By allowing Amazon to put a lock on its products whose key only Amazon possessed, Hachette has allowed Amazon to utterly usurp its relationship with its customers.”