“According to an apocryphal exchange between F. Scott Fitzgerald and Ernest Hemingway, the only difference between the rich and the rest of us is that they have more money. But is that the only difference? We didn’t used to think so. We used to think that having vast sums of money was bad and in particular bad for you — that it harmed your character, warping your behavior and corrupting your soul. We thought the rich were different, and different for the worse. Today, however, we seem less confident of this.”
Ten days before her art school’s graduate exhibition opened, Rotem Bides claimed that the objects in her installation in the show had been taken from the museum at the Auschwitz-Birkenau prison camp. All hell broke loose, and her work was about to be removed – then she released a statement swearing that the items had not been taken from the Auschwitz museum itself.
The script of the brief farce, titled The Reconstruction of the Crime, was found among J.M. Barrie’s papers at the Harry Ransom Center in Austin.
“SoundCloud was once a platform beloved by listeners and creators, whose leaders hoped to revolutionize the music industry. Hamstrung by management mistakes and fierce competition, they never did. Here’s the story of how it all came crashing down.”
Netflix has accumulated a hefty $20.54 billion in long- and short-term debt in its effort to produce more original content. The Los Gatos, Calif.-based company hopes more new shows will capture more subscribers, its primary revenue driver. It’s also under pressure to keep spending on new shows as streaming rivals such as Amazon and Hulu expand their own slates of original programming.
“When was the last time you came out of a new opera — or ANY opera — feeling that you had had a vital, exciting dramatic experience? When was the last time you felt you had lost yourself in another world? It certainly happens. But in general, we judge opera by different standards. We don’t expect it to be as gripping as a work of spoken theater. The long passages of music, and the pace of the singing, slow everything down.”
Well, that’s a new one: At its next free outdoor concert, the Kentucky Symphony Orchestra is offering “a 5K run and boot camp workout for those so inclined and a delightful outdoor evening concert of popular classics for the rest of us.”
Christopher Nolan’s film leaves out the enemy, for one thing. And then there’s Winston Churchill – or rather, there is no Winston Churchill in Dunkirk.
Francesca Zambello, the general director of Glimmerglass, described the story of Porgy and Bess, “recounting the twists and turns of a work about love, loss, race, murder, drug use, imprisonment, perseverance and hope. When she set the scene for one aria by saying that ‘a crap game starts,’ a murmur of recognition rippled through the audience. When she said that Crown, the opera’s villain, ‘murders someone impulsively,’ an inmate exclaimed: ‘Oh, man!'”
The decision has major tax implications for the donor that donated the collection to the Art Gallery of Nova Scotia in 2013. “‘We disagree with the decision,’ the museum said in a statement. ‘We consider Annie Leibovitz to be one of the most influential photographers of her time and feel the collection is culturally significant — to our province, our country and internationally.'”
An interesting trend accelerates: “The challenge to classical presenters is to find ways to widen the sensory experience of a concert without losing depth or quality of sound — a concern that takes on novel forms when cellists or clarinetists are asked to play while lying on their backs.”
Derek Whitener, whose brain was damaged in the savage January beating in the parking lot of a Dallas Target, couldn’t move or speak or recognize anyone. But, he says, his brain was busy thinking about how to direct certain parts of Pippen, which opened last week. “As he struggled to heal enough to leave the hospital, he thought about Pippin’s troubled journey as he searches for meaning and purpose.”
And the sequels inevitably lend themselves to newspaper leads like this: “It could be one of this summer’s hottest sequels: In a world threatened by powerful unseen forces, one man goes on a desperate mission to save the planet. Only the star is former Vice President Al Gore.”
Morris, who edited Robert Capo’s D-Day pictures and got them to Life in time for its first post-D-Day issue, was photo editor of The New York Times for six years during the Vietnam War. “He successfully argued for front-page display of Eddie Adams’s photograph of a Saigon police chief shooting a suspected Vietcong insurgent in the head. It appeared as the lead picture on Feb. 2, 1968, and became one of the most indelible images to emerge from the war.”
There’s a wild story about how this was buried for decades, and also about “the route the footage took from building site to the Canadian national archives in Ottawa – transported by a Hercules military aircraft after civilian courier firms refused to deliver what they considered dangerously flammable material.”
Photographer Graciela Iturbide: “It’s very strange, no? That image is no longer mine. In Juchitán there is now a sculpture of her based on that photo. It has appeared as graffiti. There are murals. In Juchitán, she is like a saint. ‘Our Lady of the Iguanas’ is part of daily life.”
“New residential developments across the city are installing significant works by artists both emerging and established in outdoor plazas, lobbies, common spaces and model units. Where developers previously battled over big-name architects and all-out amenity spaces, from pet spas to hamams, many are now turning their attention to outsize art projects.”
It reports that, while moderate inebriation doesn’t boost your ability to generate innovative ideas, it can help you avoid one major barrier to creative breakthroughs: getting stuck in a mental rut.
The 31-year-old Briton “was confirmed last night as only the second foreigner [ever] to be promoted to the top tier of the company, which was previously known as the Kirov.”