An early review of my forthcoming novel “The Disciple: A Wagnerian Tale from the Gilded Age,” by Hans Rudolf Vaget, appears in the current issue of “Wagner Notes” — the journal of the Wagner Society of New York (pp. 11-12). The book is already available for purchase (with a discount)
It began as a performance piece. That was a long time ago . . . 1985, to be precise, in Brooklyn. The author presented Individual stories as performances and installations, which were videotaped. The texts also began appearing in little magazines.
Evidence abounds this week that the battles for culture are intensifying. Taken together, these tests of authority over cultural institutions are probes of where the line is, of how much self-censorship the cultural sector will perform without being explicitly required to.
I wasn’t initially planning to write anything about Wednesday night’s Carnegie Hall concert by the Chicago Symphony under Klaus Makela, their 30-year-old impending music director. I’ve written about Makela quite enough. I have no doubt that he is immensely gifted. I have seen him ignite an orchestra with a rare
Trumpscheisse has repeatedly threatened to revoke Rosie O'Donnell's U.S. citizenship (pairing her with Robert De Niro), the staff thought this worth posting.
The question isn't whether AI will change our definition of creative excellence. The question is how we will engage with that change: with curiously and critical insight, with our existing values intact but our existing definitions loosely held? Or defending the current map as if it were the entire territory.
Brink Lindsey takes his title from one of my favourite essays, John Maynard Keynes’s “Economic Possibilities for Our Grandchildren” (which I wrote about here). Keynes, in 1930, wondered what lives might be like in our present. There are three big predictions in the essay, interrelated, of which I would say he got two right, which
Just received a masterly bilingual edition in English and German of "Slow Newsreel of Man Riding Train" by Robert Nichols. It is the latest in Stadtlichter Presse's bilingual Heartbeats series devoted to American poets of the Beat generation.
The image of the current version of this country around the world is that of a gun-happy, murderous, fascist state in which every weapon is available to everyone who wants to shoot up a crowd. If that perception is correct, why don’t we just get rid of the guns?
That shift from content value to traffic value is what has destroyed the business model for nearly everything we're talking about. I'm calling it a manifesto because that's what it needs to be. Not a lament. Not a white paper, but a declaration of what is needed.
This week there’s a question that connects nearly every story. Who gets to decide what’s real? A viral AI-generated video of Tom Cruise fighting Brad Pitt is racking up views. Neither actor consented or was paid. SAG-AFTRA is furious. Lawsuits await. Meanwhile, Tracey Emin is telling young artists to buy
“As the repertoire ages, as the world changes, we will have ever fewer Fischers and Honecks, and ever more Dueñasas, Lims, and Chos. The outcome seems to me unpredictable. It could be a refreshment and it could be a dilution.“ A dozen years ago, Ivan Fischer came to Carnegie Hall
