“The small plastic LOVE signs that began popping up on telephone poles around town this spring put a smile on many faces in the Crescent City. Though they occupied the same space as grassroots street advertisements, they didn’t seem to have anything to sell. Because they are generically designed and commercially produced, they didn’t look like conventional graffiti or street art. Because they are rather small and seek to share such a universally upbeat message, they are difficult to dislike … even if they are illegal.”
“Is Twee the right word for it, for the strangely persistent modern sensibility that fructifies in the props departments of Wes Anderson movies, tapers into the waxed mustache-ends of young Brooklynites on bicycles, and detonates in a yeasty whiff every time someone pops open a microbrewed beer? Well, it is now.”
“GE has used sites like The Economist and Quartz for native advertising to promote itself as a supporter of innovation. But its biggest and most visible effort to date came in March with the introduction of Pressing, a policy news hub that pulls in content from millennial-aimed Vox, where Pressing made a splash as a launch sponsor.”
A psychiatrist and researcher at Brown University is studying an aspect of (now-trendy) mindfulness practice that most in the field avoid: the people for whom meditation leads not to serenity or increased focus, but terror, severe depression, or, occasionally, a psychotic break.
“[It’s] modulation. For Lear, the first half of the play contains four titanic temper tantrums of near bipolar intensity, and the second half tips over into dementia, bottomless grief and (spoiler alert) death. In rehearsing these opening scenes, I need to constantly remind myself how far I still have to go, like a marathoner husbanding his resources.”
“As the touchscreen itself increasingly merges with its environment, and embedded technology goes mainstream, this raises questions around design for the next generation of digital experiences and services. Designing for Generation Moth is going to require very different skillsets and ways of thinking beyond what we do now.”
“While technology has often been hailed as the great equalizer of educational opportunity, a growing body of evidence indicates that in many cases, tech is actually having the opposite effect: It is increasing the gap between rich and poor, between whites and minorities, and between the school-ready and the less-prepared.”
“Congress approved the recopyrighting, limited to foreign works, to align U.S. policy with an international copyright treaty. But the Golan plaintiffs—a group that includes educators, performers, and film archivists—argue that bigger principles are at stake. Does Congress have the constitutional right to remove works from the public domain? And if it does, what’s stopping it from plucking out even more freely available works?”
“Now that it’s confirmed, I can tell you that good ol’ TSA confiscated (aka STOLE) my brand new bow right out of my hard case yesterday. I arrived in Saskatoon only to find the bow missing inside the case to my Lemur Travel Bass. Maybe they thought it was a weapon (idiotic), or they were looking for ivory, of which there wasn’t any. I will get to the bottom of this.”
“He made strong-selling recordings of the Mormon Tabernacle Choir; worked with Dave Brubeck, Joe Williams and other jazz artists; recorded Peter, Paul and Mary; and helped engineer the string parts for Pink Floyd’s … The Wall. But he made his biggest mark in the classical world, … [where] helped shape some of the most celebrated classical recordings of the 20th century, including acclaimed sessions with Bruno Walter, Igor Stravinsky and Leonard Bernstein.”
Who’d have predicted that a cartoon about a pair of princesses would become the fifth-highest-grossing film of all time – and win a slew of awards, too? Maria Konnikova and some research psychologists look at what makes Disney’s latest hit so beloved far beyond its expected demographic.
The choice of Chicago over San Francisco and Los Angeles for the institution – to be called the Lucas Museum of Narrative Art – “reflects both a bungling of the billionaire’s legacy project by the board of a national park in San Francisco as well as an aggressive lobbying effort by Mayor Rahm Emanuel.”
“Among 203 pilots produced in the 12 months ended in May, only 44% (90 pilots) were filmed in the L.A. region, down from 52% the previous year and 82% from the 2006-2007 pilot season. The rest mainly filmed in New York, Vancouver, Atlanta, and Toronto, concludes a study released Tuesday by FilmL.A. Inc.”
“As the tour progressed, travel fatigue set in, along with the stress of juggling personal lives, and brittle behavior from too much cocaine use by some of the bandmembers. The dollar figure for the tour was never really known and the huge expenses the band was racking up were being billed back to them. On stage, the music was sensational. Offstage, drugs made their discussions sound more like pontifications or monologues rather than conversations—each one insisting that his viewpoint was the right one.”
No matter the part, he always seemed at ease and in control, whether playing a Mexican bandit in the 1960 western “The Magnificent Seven,” a bumbling clerk in Ionesco’s allegorical play “Rhinoceros,” a henpecked French general in Jean Anouilh’s “Waltz of the Toreadors,” Clark Gable’s sidekick in “The Misfits” or a Mafia don in “The Godfather: Part III.”
“German book publishers have filed a complaint with the country’s antitrust authority against Amazon, accusing it of violating competition laws and asking the government to investigate. The complaint, filed last week, was announced on Tuesday, nearly two months after Amazon began delaying shipments of books from [German publishing group] Bonnier.”
The choreographer, rehearsing a 1991work of his with the Boston Ballet, talks about the stress that led him to move away from the troupe he created in Germany after leaving Frankfurt Ballet, what will happen to the work he made for his dancers in the past decade (oblivion), and whether he will choreograph more (not yet).