“Mr. Butler’s music was encyclopedic, precise and wild. He was acclaimed as a member of a distinctively New Orleans piano pantheon alongside Jelly Roll Morton, James Booker, Tuts Washington, Professor Longhair, Fats Domino, Allen Toussaint and Dr. John. He was also a forthright, bluesy singer who often used New Orleans standards as springboards for improvisation.”
The bottom-up programming means that events are spread across non-traditional sites throughout Friesland – which lacks an extensive network of conventional venues – using a model that seeks out and seeds local producers and companies who then source alternative ways of funding. Of course it wouldn’t be an ECoC without the punctuation of the big international shows, but even these are carefully geared to the local spirit of ‘iepen mienskip’ or open community.
The late-period painting, found in the artist’s studio when he died, had been dramatically changed over the years, including being cut down on the sides and trimmed at the top, as is demonstrated by a photograph taken by Fernard Lochard in a studio inventory. Overpainting included an added signature (“Ed Manet”) and filling in the trellis-like background, which was less “finished”. The syrupy top, dark layer of varnish is a type typically used for musical instruments or wood furniture, also muted the painting’s sketchy energy. Even the subject’s right eyebrow was changed during the earlier restoration from a raised arch to a more neutral and passive line.
“He has come forward and talked about supporting us and we will see how that plays itself out. There is nothing signed and delivered and so far it is just a conversation that we had.”
Objectivity has totally failed, and we have to question whether there ever was such an animal in the first place. Christopher Lasch has brilliantly argued that it was manufactured by those who needed a sterile environment within which to sell advertising, and I don’t disagree. That sterile environment was also very useful for the selling of ideas, which is the role of public relations – the spin doctors.
“His return to the stage on Friday — to headline the season opener at Tanglewood, the Boston Symphony Orchestra’s summer home in the Berkshires — is being closely watched not only by his fans, but also by the music industry. … The select group of artists who can still sell out concerts on the strength of their names includes Yo-Yo Ma, Itzhak Perlman, Joshua Bell and Renée Fleming — and Mr. Lang.” Michael Cooper explains what kept Lang Lang away from playing and what’s at stake now.
“‘No nudity at all,’ said a dance presenter, incredulously, as she emerged from the final showing of the DCA LA Dance Platform presented here in early June. ‘That would never happen in New York.’ But the dance showcase … was not about what is happening in New York, or London or Berlin. It was focused on dance in Los Angeles, a city where companies, big and small, classical and contemporary, have historically struggled for visibility and viability.”
Slav, which premiered last week at the Montreal International Jazz Festival, “bills itself as a ‘theatrical odyssey’ inspired by ‘traditional African-American slave and work songs.’ It also features a nearly all-white cast performing the music. Its director, Mr. Lepage, is white, as is its star Betty Bonifassi. … On Wednesday, the storm proved too much, and the jazz festival and Ms. Bonifassi canceled the show after only two performances.”
“Elizabeth Rowe, who joined the BSO in 2004 after winning a blind audition for the role of principal flute, says in the lawsuit she’s asked for years to be paid the same as the principal oboe — the best comparison to her unique position — but the orchestra kept her pay well below that of her peer.” The difference is currently $70,000.
In an astoundingly prolific career, de Baleine wrote some 50 books, ranging from reportage from West Africa and Southeast Asia to detective novels published under a pseudonym, and was editor-in-chief of several magazines including Paris Match, Marie Claire, and Sciences et Vie.
“An estimate last month to restore Ilya Repin’s painting Ivan the Terrible and His Son Ivan on November 16, 1581 (1885), damaged by a metal-pole-wielding assailant at Moscow’s State Tretyakov Gallery, was Rb30m ($474,000). This is 60 times the sum reported immediately after the incident on 25 May.”