“Back when Lumberyard was known as the American Dance Institute and operated out of a strip mall in Rockville, Maryland, it pioneered its Incubator program to whip new pieces into shape, kind of like the “out-of-town” tryout model for theater. Several of the artists it supported ultimately brought their shows to the Brooklyn Academy of Music.” Now that the ADI has relocated to the Catskills as Lumberyard, “the partnership is official.”
Ashley Newman: “On May 5, 2016, I was dancing with some of my best friends in rehearsal for The Chase Brock Experience, where I’m a founding company member. I was thrilled to be back doing a show after taking some time off for graduate school. My next memory is waking up in the hospital with a ventilator tube down my throat.”
“The view has long been that males, in their sexual communication, are saying something important about themselves, and it’s up to the females to figure out what that is, to figure out which males are truly attractive and which are not. I argue the other side of the coin. Females aren’t trying to figure out what males are saying. When they mate with a male, by definition, that male is attractive. So females are the deciders. Over evolutionary time, it seems males are trying out a lot of different courtship traits. A bright orange here, a bright blue there, rub your wings together and make a sound, or jump up and do a dance. They are trying to do these things to tickle females’ preferences. But it’s really the females calling the shots. It’s the female’s brain that sets the bar for what kind of traits are attractive and unattractive.”
One of the filmmakers (all of them are riffing off a Buffy Sainte-Marie commentary on the hoopla around Canada 150) says, “To me, decolonization has not been about a return to a way of life. No one is saying everybody has to give up their house and live in a longhouse. … It’s about understanding that colonialism has established structures that we all live under.”
Parul Sehgal has rather a lot to do, and she’s fine with that. “I only care about doing the work. I have zero other ambitions. I’m the laziest, least socially ambitious person, ever. And I don’t get off on the punitive power of the critic; you know that brand of critic, the scold, who has appointed himself to keep the ecosystem clean. That’s the kind of thing that I find very uninteresting. Taxonomizing has very little to do with how and why people read.”
Nigeria has been a literary hub for many decades, but now “a new wave of thematically and stylistically diverse fiction is emerging from the country, as writers there experiment with different genres and explore controversial subjects like violence against women, polygamy and the rise of the Islamist militant group Boko Haram.”
Check out Gray Zeitz and the Larkspur Press in Kentucky: “Zeitz left the University of Kentucky in the winter of 1974, half a semester away from finishing an English degree. He’d been learning letterpress work – the way individually set type makes an impression on high-quality paper –- and he wanted to make fine books, especially poetry. At that time, the letterpress craft was fading as printers moved to faster offset printing. But to Zeitz the moment seemed right. He didn’t need electricity at first, or indoor plumbing. He’d grow tobacco to sell and they’d raise calves. Kentucky writers would be featured.”
London and Chicago theaters have already gathered and hammered out some guidelines for theaters in town, and the Public says it’s time to do so in New York. “Stephanie Ybarra, the director of special artistic projects and one of the event’s organizers, said the Public Theater was a civic institution as well as an artistic one, and therefore ‘a place where art, ideas and conversation flow freely.'”
People reading one short story that was “literary” and one that was “science fiction” – identical stories except for small details like the protagonist using an airlock instead of a door – had wildly different reactions. The readers of the second kind of piece “assume the story will be less worthwhile, one that doesn’t require or reward careful reading, and so they read less attentively. This then lowers their scores on objective comprehension tests because they miss so much. Interestingly, they don’t even realise it, because they still report that the story required less effort to understand. It’s a self-fulfilling bias – except we can now show objectively that the weakness is with the reader, not the story itself.”
Work your butt off in both the U.S. and Russia, and go to the provinces. “It’s easier because that weight of tradition, history and classical heritage that major theaters like the Bolshoi and the Mariinsky have … the regions are much more flexible now. They don’t have such rigid boundaries.”
Industry analysts and experts in the animation community said Lasseter’s absence could be a significant blow to the studio if his departure becomes permanent because the executive has been such a key figure in its success. Lasseter is the chief creative officer of Pixar and Walt Disney Animation Studios.
“Wrestling with what to do with the product of tainted executives, artists or news figures is not that far from the eternal issue of how (or even whether) to separate our views of art from our views of the artists. Wagner was blatantly anti-Semitic. Alfred Hitchcock abused actresses who worked for him, so openly that you can see his dysfunctional psychosexual power dynamics right onscreen. Roman Polanski was convicted of having sex with a 13-year-old, but does that mean “Rosemary’s Baby” should have been pulled from circulation?”
The Government has been advised to discontinue the selection process for the five bidding cities – Belfast, Dundee, Nottingham, Milton Keynes and Leeds – “immediately”. The DCMS said it is “deeply disappointed” with the decision and is in “urgent discussions” with the European Commission on the matter.