D. Neal Bremer, a Kalamazoo resident who worked as COO of the GRAM from June 2015 until his termination on June 28 of this year, claims that museum executives regularly misused donor-restricted funds on other expenses, “including general operations expenses,” according to the lawsuit filed on Sept. 22 in the 17th Circuit Court for Kent County.
The authors of a report on diversity in the genre are the owners of the U.S.’s only romance-focused store, and they love the genre. But the numbers are bad – in some cases, abysmal. They say: “The traditional romance publishing industry is going to collapse if it doesn’t start hiring authors that reflect the current U.S. population.”
“After 12 seasons dancing with the Rockettes, Rhonda Kaufman Malkin knows a thing or two about becoming one of Radio City’s iconic dancers. … At the most recent Rockettes callback, over half of the 25 dancers were Malkin’s students – and seven of them were offered contracts. Here’s how to get to Radio City, according to Malkin.”
“Indianapolis City Ballet, founded in 2009 by the late Robert Hesse and now led by his son Kevin, presents an alternate paradigm: start with building an audience. After several attempts to sustain a professional company in Indianapolis failed, Hesse and his team are experimenting with a new model: a non-profit producing organization that seeks to bolster the city’s dance community by sponsoring events like gala performances, master classes and competitions.”
“Ms. Wiazemsky, a granddaughter of the Nobel literature laureate François Mauriac, was a leading lady in Godard films as well as [Jean-Luc] Godard’s wife, a sometime muse and later a chronicler of his pioneering role in the New Wave, which swept France in the 1960s … She became an instant star in 1966 when she was barely 18 … [in Robert Bresson’s film] Au Hasard Balthazar.”
The UK’s The Guardian asked a whole bunch of artists what they think, and the answers range across just about everything non-artists might think – and some very specific to making art in a time when public funding is drying up and artists need to stay true to themselves while also figuring out how to pay rent and eat (so, same as always, but with drones).
And, if so, what can writers do about it? “When our political leaders use language not as a torch to illuminate our challenges but as a prod to stoke our fears and hatreds, we all have a duty as citizens to combat such debasement of civil discourse by exposing the contradictions between those leaders’ grandiose promises and the likely consequences of their implementation. But writers have a second responsibility: to strip away the rhetoric that shrouds in palatable justifications the underlying prejudices to which such leaders appeal and reveal what citizens are actually embracing when they support such politicians.”
She’s too girly, she publishes on Instagram, her followers are all young women … well, literary establishment, perhaps you need to take a nicer photo of your objections, or design them better? “Milk and Honey( has sold 2.5 million copies worldwide and has been translated into 25 languages. Over the last two years, it has spent 77 weeks on The New York Times Trade Paperback Best-Seller List. Her second book, *The Sun and Her Flowers, was released this week and is No. 2 on Amazon’s best-seller list.”
Is there any such thing as world literature now? Can anyone who writes a book in English, which thoroughly dominates in the business and political worlds, really think of it as only a national book? (And other questions.)
It’s a real problem: “Teenage boys reported having been teased ‘forever’ and ‘ALLLLLLLLLL the time,’ and more than half said the most significant challenge they confront as boys in ballet is the harassment that serves to police their masculinity — ‘the homophobic attitude of some’ and ‘the assumption that ballet is only for girls and gay men.’ More than 85 percent said more boys would study dance if boys and men weren’t teased and harassed so much for dancing.”
“The fascist tradition of using the arts as vehicles for expanding the movement is visible in the U.S. today, in some cases in eerily similar ways to the original rise of European fascism in the early 20th century. In an interview with Pacific Standard, Ross discussed the ways fascists have historically snuck into mainstream cultural milieus, why progressives sometimes fall for fascist infiltrators, and how entertainment media played a role in the election of Trump.”
Familiar intellectual property has two advantages for a TV network. First, it’s already vetted. An editor with experience in science fiction has already made the sign of the IDIC over it and fired it out of a photon torpedo tube. Its characters, its world, and at least the skeleton of its plot live in the fictional universe.
“I see the ideas of Morton Feldman’s music everywhere in Steven’s magnificent realization—and not just in the rugs of the Music Building that reproduce the graphic notation of Feldman’s early works. Steven’s architecture embodies the spirit of Feldman’s expansive and mystical late works.”
“Of the premium content offered by the Big Three streamers, the most popular shows in September from each were The Handmaid’s Tale (Hulu), The Man in the High Castle (Amazon) and Narcos (Netflix), according to Parrot Analytics. Those three streamers are spending wildly to acquire content from the likes of CBS, Warner Bros., Lionsgate and more, as well as produce their own original shows. Netflix, for example, will plans to spend $6 billion this year while Amazon spends $4.5 billion.”
Lincoln Center Theater will produce the revival directed by Bartlett Sher, whose revivals of South Pacific and The King and I there were enormous successes. Unusually, the actors playing Eliza (Ambrose) and Higgins (Harry Hadden-Paton, who played Bertie Pelham on Downton) are roughly the same age. Also in the cast will be Norbert Leo Butz and Diana Rigg.
“What if the world we think we know is only a tiny, myopic fraction of it? What if the things we believe we understand are nothing but learned patterns? We imagine that wanting to be inclusive and cosmopolitan makes us so, but we continue to be produced by and inhabit the structures that create oppression. This is precisely what makes it so important that Hollywood be truly democratic: It represents so much of the inner, the hidden and exceptional, of this country. If there is no space for the visions of the most talented among us no matter where they come from — or how strange their ideas may seem to those who cannot comprehend them — what possible future can we really have but the most ordinary?”
Wesley Morris investigates: “We take female musicians just seriously enough not to notice that we don’t actually take them seriously enough. They matter in the present. But posterity is another matter. Posterity is keeping them down in the basement in case Tom Petty comes over.”
As controversy swirls around demands to remove the memorials to the Confederacy and its officers found in many US cities, it’s worth remembering that a lot of those statues “were cheap, mass-produced and exactly the kind of disgrace that [the great memorial sculptor Augustus] Saint-Gaudens condemned. With this in mind, we asked five specialists in American sculpture to select the pieces they regard as the nation’s truly great works.” (For better or worse, all five are in the Northeast Corridor.)
“Back home, [EunWon] Lee was the National Ballet’s youngest principal ballerina and a dance celebrity. Her performances sold out the Seoul opera house in minutes. … With her lithe form and delicate, childlike features, she modeled for Swarovski jewelry and tossed out ceremonial pitches at ballgames. But it wasn’t enough.
Last week the museum removed three pieces from the exhibition “Art and China After 1989: Theater of the World” following pressure from animal-rights activists; countercriticism followed from artists, curators, and anti-censorship activists. Now Guggenheim director Richard Armstrong has explained his decision: “It was not only the quantity of people’s reactions, but there were a number of them that bordered on ominously threatening, or beyond that. We were obliged to consult with the police.”
“An investigation by The New York Times found previously undisclosed allegations against Mr. Weinstein stretching over nearly three decades, documented through interviews with current and former employees and film industry workers, as well as legal records, emails and internal documents from the businesses he has run, Miramax and the Weinstein Company.”
About a month after he arrived as artistic director, Corella said, “People started to put their arms across and say, ‘This is not going to happen.’ I heard that some dancers said, ‘The same way we got rid of the previous artistic director, we’re going to get rid of this one.’ Dancers were laughing at my face. A dancer even insulted me in front of everyone, just called me an [expletive]. You had people who didn’t even show up to class – I didn’t see them for three or four months – others that were injured for a very long time. … People from all around the world were knocking on the door – we had 2,000-something people sending in audition tapes.”
Roy Kaiser, who spent two decades as the Philadelphia-based company’s artistic director (and 18 years at the company before that), is the new artistic director of Nevada Ballet Theatre in Las Vegas. “He replaces James Canfield, who served as NBT’s artistic director from 2009 until his contract expired June 30. Kaiser is just the fourth artistic director of the Nevada Ballet Theatre, which is entering its 46th season.”
“Unlike the other greats of his generation, he was not a figure affected by the media. The genius emperor Boulez, the sensuous artist-prince Henze, the galactic Stockhausen, had all already cut their own paths as Klaus Huber continued to teach 40 violin students per week, and only pursued a vocation he’d long known in the mornings.” (Huber was also a highly-regarded composition teacher; among his students were Brian Ferneyhough, Wolfgang Rihm and Kaija Saariaho.)
The late novelist Anthony Powell was an important mentor and supporter of Naipaul during the latter’s early years as a young Trinidadian writer in London. Years later, Naipaul included in his own memoir a harsh dismissal of Powell’s writing. Now Powell’s biographer has discovered evidence that Naipaul’s remarks about Powell were quite possibly based on a lie and definitely different from what Naipaul had told Powell personally.
The story The Most Human Part of You, by Richard Kelly Kemick, a National Magazine Award-winning writer from Calgary, Alta., was found to share elements with the story The Dog of the Marriage by the American writer Amy Hempel. As a result, Kemick’s story, as well as a second work, have been pulled from The Journey Prize Stories, an anthology that features the best fiction published in Canadian literary journals and magazines.
The statistics on boys, ballet and bullying are staggering. According to a study by dance sociologists Doug Risner and Maggie Allesee of Wayne State University in Detroit, 93 percent of boys involved in ballet reported “teasing and name calling,” and 68 percent experienced “verbal or physical harassment.” Eleven percent said they were victims of physical harm at the hands of people who targeted them because they are boys who study dance.
The Swedish Academy cited the 62-year-old British author of The Remains of the Day, Never Let Me Go, and The Buried Giant for “novels of great emotional force [in which he has] uncovered the abyss beneath the illusory sense of connection with the world.”