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asmallexperiment · 1 year

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National Recording Registry: 2023 Inductees

I was going over the list of 25 pieces the National Recording Registry of the Library of Congress inducted this year. It's a fun list:

“The Very First Mariachi Recordings” — Cuarteto Coculense (1908-1909)

“St. Louis Blues” — Handy’s Memphis Blues Band (1922)

“Sugar Foot Stomp” — Fletcher Henderson (1926)

Dorothy Thompson: Commentary and Analysis of the European Situation for NBC Radio (Aug. 23-Sept. 6, 1939)

“Don’t Let Nobody Turn You Around” — The Fairfield Four (1947)

“Sherry” — The Four Seasons (1962)

“What the World Needs Now is Love” — Jackie DeShannon (1965)

“Wang Dang Doodle” — Koko Taylor (1966)

“Ode to Billie Joe” — Bobbie Gentry (1967)

“Déjà Vu” — Crosby, Stills, Nash and Young (1970)

“Imagine” — John Lennon (1971)

“Stairway to Heaven” — Led Zeppelin (1971)

“Take Me Home, Country Roads” — John Denver (1971)

“Margaritaville” — Jimmy Buffett (1977)

“Flashdance…What a Feeling” — Irene Cara (1983)

“Sweet Dreams (Are Made of This)” — Eurythmics (1983)

“Synchronicity” — The Police (1983)

“Like a Virgin” — Madonna (1984)

“Black Codes (From the Underground)” — Wynton Marsalis (1985)

Super Mario Bros. theme — Koji Kondo, composer (1985)

“All Hail the Queen” — Queen Latifah (1989)

“All I Want for Christmas is You” — Mariah Carey (1994)

“Pale Blue Dot” — Carl Sagan (1994)

“Gasolina” — Daddy Yankee (2004)

“Concerto for Clarinet and Chamber Orchestra” — Northwest Chamber Orchestra, Ellen Taaffe Zwilich, composer (2012)

I was a little surprised that "Stairway" wasn't already in the list and that this was the first time any video game music was included, but it's honestly not a bad list. The Daddy Yankee is a fun inclusion.

One thing, though: I was going through the full list of inductees (and, honestly, it's a great list--sure, with a few things that probably should be in ahead of what's there now). But my personal complaint is that they inducted the Kubelik/Chicago version of Pictures At An Exhibition. As someone who grew up with the (kinda ubiquitous) Szell/Cleveland performance, the Kubelik version...well, the Promenades feel a little sprint-y and the heaviest (Bydlo, Great Gate) or cheekiest (Samuel Goldenberg and Schmuyle) bits could be a little heavier. Just a preference, of course, and I guess they had to settle on some version of it, but I feel like Szell is a little more what I think of as Mussorgsky.

#national recording registry #library of congress #pointless complaints about mussorgsky

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tsukikoayanosuke · 3 years

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TWST MC Hybrid AU - all hybrid kids edition

Re-introducing!

Rose Fall (enderian) by @isabellawaites

Andrea Williams (merling) by @91062854-ka

Astrid Lancaster (shulk) by @countessofwisdom

Charlotte Luchessi (elyrian) by @akemiozawa

Samuel Wynton (phantom) by /@akemiozawa

Lynette Mitchell (fox) by @sakurablossoms10

Jonah Argentum (avian) by me

Gloriane Corbett (starborne) by @nqchristine22

#twst mc hybrid au #gacha club #rose fall #andrea williams #astrid lancaster #charlotte luchessi #samuel wynton #lynette mitchell #jonah argentum (my oc)#Gloriane Corbett

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jonahintwstmchybridau · 3 years

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Individual post for the edited version of the cast. OC owners, you can use them.

Edited a few things:

Everyone eyes frame are now black instead of fitting scene outline

Andrea and Lynette has no changes

Astrid gets a pointy purple ears to distinguish shulk hybrid (you can’t really see it because of the helmet)

Charlie gets pointy ears to distinguish elyrian hybrid

Glory gets a new pair of antlers the same as her skin color and star pupils to distinguish starborne hybrid; changed her color scheme from blue-and-yellow to pink-and-yellow to fit the Nether-scheme

Jonah gets pointy ears to distinguish avian hybrid; no longer have dual-colored eyes/half-blind because of the problem with the eyes highlight

Rose gets pointy ears and a tail to distinguish enderian hybrid

Samuel doesn’t get a horn (it’s instead given to starborne, because phantom already has the grayish-skin)

#twst mc hybrid au #andrea williams #astrid lancaster #charlotte luchessi #Gloriane Corbett #jonah argentum #lynette mitchell #rose fall #samuel wynton #gacha club

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nofatclips · 4 years

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Hard Life by Sault from the album UNTITLED (Black Is)

#music #sault #michael kiwanuka #michael samuel kiwanuka #cleo sol #inflo #dean wynton josiah cover #dean josiah cover

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dannyreviews · 4 years

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Entertainment Legends Who Should Receive The Kennedy Center Honors (2020 Edition)

Another update on potential future honorees.

Actors:

Alan Alda, Jane Alexander, Michael Caine, Leslie Caron, Glenn Close, Billy Crystal, Daniel Day-Lewis, Judi Dench, Robert Duvall, Harrison Ford, Boyd Gaines, Joel Grey, Gene Hackman, Rosemary Harris, Anthony Hopkins, Glenda Jackson, Kevin Kline, Frank Langella, Nathan Lane, Jessica Lange, Elaine May, Ian McKellen, Helen Mirren, Bob Newhart, Christopher Plummer, Maggie Smith, Dean Stockwell, Dick Van Dyke, Denzel Washington, Betty White

Composers/Conductors:

John Adams, Daniel Barenboim, George Crumb, Carlisle Floyd, Valery Gergiev, Phillip Glass, John Corigliano, Dave Grusin, Mike Post, Simon Rattle, Steve Reich, Ned Rorem, Lalo Schifrin, Leonard Slatkin, La Monte Young, Hans Zimmer

Dancers/Choreographers:

Toni Basil, Savion Glover, Cynthia Gregory, Kenny Ortega, Susan Stroman, Tommy Tune

Directors:

Woody Allen, Francis Ford Coppola, Ron Howard, James Ivory, Norman Jewison

Musicians:

Herb Alpert, Vladimir Ashkenazy, Emanuel Ax, Burt Bacharach, Carla Bley, Yefim Bronfman, Larry Carlton, Ron Carter, Ry Cooder, Chick Correa, Stanley Drucker, Bela Fleck, James Galway, Evelyn Glennie, Keith Jarrett, Kim Kashkashian, Doug Kershaw, Ramsey Lewis, Wynton Marsalis, Jean-Luc Ponty, Arturo Sandoval, Peter Schickele, Pinchas Zukerman

Singers:

ABBA, Paul Anka, Janet Baker, Cecilia Bartoli, Kathleen Battle, Betty Buckley, Shirley Caesar, José Carreras, Eric Clapton, Judy Collins, Phil Collins, Renee Fleming, Barry Gibb, Kiri Te Kanawa, Allison Krauss, Jerry Lee Lewis, Gladys Knight, Patti Lupone, Audra McDonald, Bette Midler, Sherrill Milnes, Liza Minnelli, Van Morrison, Bernadette Peters, Samuel Ramey, The Rolling Stones, Linda Ronstadt, Renata Scotto, Ringo Starr, Bryn Terfel, Frankie Valli, Frederica von Stade, Willard White

Theatrical People:

Emanuel Azenberg, Alain Boubil/Claude-Michel Schonberg, Peter Brook, Michael Frayn, Athol Fugard, David Hare, Sheldon Harnick, Bill Irwin, James Lapine, David Mamet, Terrence McNally, Alan Menken, Trevor Nunn, Tim Rice, Stephen Schwartz, Peter Sellars, Richard M. Sherman, Tom Stoppard, Charles Strouse, Jonathan Tunick, Jerry Zaks

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didanawisgi · 4 years

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A Letter on Justice and Open Debate

July 7, 2020

The below letter will be appearing in the Letters section of the magazine’s October issue. We welcome responses at [email protected]

“Our cultural institutions are facing a moment of trial. Powerful protests for racial and social justice are leading to overdue demands for police reform, along with wider calls for greater equality and inclusion across our society, not least in higher education, journalism, philanthropy, and the arts. But this needed reckoning has also intensified a new set of moral attitudes and political commitments that tend to weaken our norms of open debate and toleration of differences in favor of ideological conformity. As we applaud the first development, we also raise our voices against the second. The forces of illiberalism are gaining strength throughout the world and have a powerful ally in Donald Trump, who represents a real threat to democracy. But resistance must not be allowed to harden into its own brand of dogma or coercion—which right-wing demagogues are already exploiting. The democratic inclusion we want can be achieved only if we speak out against the intolerant climate that has set in on all sides.

The free exchange of information and ideas, the lifeblood of a liberal society, is daily becoming more constricted. While we have come to expect this on the radical right, censoriousness is also spreading more widely in our culture: an intolerance of opposing views, a vogue for public shaming and ostracism, and the tendency to dissolve complex policy issues in a blinding moral certainty. We uphold the value of robust and even caustic counter-speech from all quarters. But it is now all too common to hear calls for swift and severe retribution in response to perceived transgressions of speech and thought. More troubling still, institutional leaders, in a spirit of panicked damage control, are delivering hasty and disproportionate punishments instead of considered reforms. Editors are fired for running controversial pieces; books are withdrawn for alleged inauthenticity; journalists are barred from writing on certain topics; professors are investigated for quoting works of literature in class; a researcher is fired for circulating a peer-reviewed academic study; and the heads of organizations are ousted for what are sometimes just clumsy mistakes. Whatever the arguments around each particular incident, the result has been to steadily narrow the boundaries of what can be said without the threat of reprisal. We are already paying the price in greater risk aversion among writers, artists, and journalists who fear for their livelihoods if they depart from the consensus, or even lack sufficient zeal in agreement.

This stifling atmosphere will ultimately harm the most vital causes of our time. The restriction of debate, whether by a repressive government or an intolerant society, invariably hurts those who lack power and makes everyone less capable of democratic participation. The way to defeat bad ideas is by exposure, argument, and persuasion, not by trying to silence or wish them away. We refuse any false choice between justice and freedom, which cannot exist without each other. As writers we need a culture that leaves us room for experimentation, risk taking, and even mistakes. We need to preserve the possibility of good-faith disagreement without dire professional consequences. If we won’t defend the very thing on which our work depends, we shouldn’t expect the public or the state to defend it for us.”

Elliot Ackerman Saladin Ambar, Rutgers University Martin Amis Anne Applebaum Marie Arana, author Margaret Atwood John Banville Mia Bay, historian Louis Begley, writer Roger Berkowitz, Bard College Paul Berman, writer Sheri Berman, Barnard College Reginald Dwayne Betts, poet Neil Blair, agent David W. Blight, Yale University Jennifer Finney Boylan, author David Bromwich David Brooks, columnist Ian Buruma, Bard College Lea Carpenter Noam Chomsky, MIT (emeritus) Nicholas A. Christakis, Yale University Roger Cohen, writer Ambassador Frances D. Cook, ret. Drucilla Cornell, Founder, uBuntu Project Kamel Daoud Meghan Daum, writer Gerald Early, Washington University-St. Louis Jeffrey Eugenides, writer Dexter Filkins Federico Finchelstein, The New School Caitlin Flanagan Richard T. Ford, Stanford Law School Kmele Foster David Frum, journalist Francis Fukuyama, Stanford University Atul Gawande, Harvard University Todd Gitlin, Columbia University Kim Ghattas Malcolm Gladwell Michelle Goldberg, columnist Rebecca Goldstein, writer Anthony Grafton, Princeton University David Greenberg, Rutgers University Linda Greenhouse Rinne B. Groff, playwright Sarah Haider, activist Jonathan Haidt, NYU-Stern Roya Hakakian, writer Shadi Hamid, Brookings Institution Jeet Heer, The Nation Katie Herzog, podcast host Susannah Heschel, Dartmouth College Adam Hochschild, author Arlie Russell Hochschild, author Eva Hoffman, writer Coleman Hughes, writer/Manhattan Institute Hussein Ibish, Arab Gulf States Institute Michael Ignatieff Zaid Jilani, journalist Bill T. Jones, New York Live Arts Wendy Kaminer, writer Matthew Karp, Princeton University Garry Kasparov, Renew Democracy Initiative Daniel Kehlmann, writer Randall Kennedy Khaled Khalifa, writer Parag Khanna, author Laura Kipnis, Northwestern University Frances Kissling, Center for Health, Ethics, Social Policy Enrique Krauze, historian Anthony Kronman, Yale University Joy Ladin, Yeshiva University Nicholas Lemann, Columbia University Mark Lilla, Columbia University Susie Linfield, New York University Damon Linker, writer Dahlia Lithwick, Slate Steven Lukes, New York University John R. MacArthur, publisher, writer

Susan Madrak, writer

Phoebe Maltz Bovy, writer

Greil Marcus Wynton Marsalis, Jazz at Lincoln Center Kati Marton, author Debra Mashek, scholar Deirdre McCloskey, University of Illinois at Chicago John McWhorter, Columbia University Uday Mehta, City University of New York Andrew Moravcsik, Princeton University Yascha Mounk, Persuasion Samuel Moyn, Yale University Meera Nanda, writer and teacher Cary Nelson, University of Illinois at Urbana-Champaign Olivia Nuzzi, New York Magazine Mark Oppenheimer, Yale University Dael Orlandersmith, writer/performer George Packer Nell Irvin Painter, Princeton University (emerita) Greg Pardlo, Rutgers University – Camden Orlando Patterson, Harvard University Steven Pinker, Harvard University Letty Cottin Pogrebin Katha Pollitt, writer Claire Bond Potter, The New School Taufiq Rahim Zia Haider Rahman, writer Jennifer Ratner-Rosenhagen, University of Wisconsin Jonathan Rauch, Brookings Institution/The Atlantic Neil Roberts, political theorist Melvin Rogers, Brown University Kat Rosenfield, writer Loretta J. Ross, Smith College J.K. Rowling Salman Rushdie, New York University Karim Sadjadpour, Carnegie Endowment Daryl Michael Scott, Howard University Diana Senechal, teacher and writer Jennifer Senior, columnist Judith Shulevitz, writer Jesse Singal, journalist Anne-Marie Slaughter Andrew Solomon, writer Deborah Solomon, critic and biographer Allison Stanger, Middlebury College Paul Starr, American Prospect/Princeton University Wendell Steavenson, writer Gloria Steinem, writer and activist Nadine Strossen, New York Law School Ronald S. Sullivan Jr., Harvard Law School Kian Tajbakhsh, Columbia University Zephyr Teachout, Fordham University Cynthia Tucker, University of South Alabama Adaner Usmani, Harvard University Chloe Valdary Helen Vendler, Harvard University Judy B. Walzer Michael Walzer Eric K. Washington, historian Caroline Weber, historian Randi Weingarten, American Federation of Teachers Bari Weiss Sean Wilentz, Princeton University Garry Wills Thomas Chatterton Williams, writer Robert F. Worth, journalist and author Molly Worthen, University of North Carolina at Chapel Hill Matthew Yglesias Emily Yoffe, journalist Cathy Young, journalist Fareed Zakaria

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book-of-leftover-ideas · 6 years

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Chapter Two (Book 1 of the Immortals Trilogy

When it comes to life, live it to the fullest. No one ever knows when some life changing might happen, whether it be something positive or not. So go live life how you want to live it, don’t do what others want you to do. Leave those pages blank because with doing that, you’re proving that you are capable of writing your own story.

-E.G. Stansfield

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Fawn had explained everything from the dragon she killed just weeks after she left to her saving an entire village just a month ago. All the while, Ash was amazed at all the crazy adventures his friend has had since she had left his village all those years ago, and by then, Fawn had finished and was out of breath, her cheeks flushed a brilliant shade of pink.

“Amazing, isn’t it?” Tracer smirked as he leaned up against the doorway.

Ash nodded, a laugh escaping him before looking up at Fawn.

“What are you planning on doing for your next adventure?” He asked, but Fawn shrugged. “Slay another dragon or an ogre half-breed?”

Tracer whacked Fawn on the arm, but she punched him back.

“What was that for?” Fawn asked as Tracer nodded towards Ash. “Oh, yeah. That…”

Fawn laughed awkwardly and tucked a piece of hair, which was now a metallic royal blue, behind her ear for before speaking.

“I may or may not be training to be in the King’s personal guard…” Fawn said slowly.

“By gods, Fawn!” Ash exclaimed. “You’re just full of surprises!”

“Yup,” Fawn stated, popping the ‘p.’

The conversation between the two friends continued. The subject of the King’s personal guard remained for a while but it somehow changed into how pigs can be excellent friends and not just food. Tracer added some input, but was eventually pulled into the conversation. Together, they talked like any friends would.

Gossip flowing into juicy rumors, how many women the prince was actually courting at one time, and, of course, arguments on who was the best smithy out of the three. Usually, they wouldn’t brag around one another, but it was all brought out because Fawn had to mention the fact that her birthday last month and that she was now allowed to drink legally, so Ash and Tracer were, as guessed, drunk beyond their wits.

“Clearly I’m the best blacksmith, I mean, have you seen my skills?” Ash slurred

The other two laughed heartily.

“You can’t forge anything for shit!” Tracer said, obviously intoxicated. “I’m the most experienced.”

Fawn was the most sober out of the trio, all she had was a small buzz. She watched her two friends continue until their talking came to a stop. Fawn hadn’t noticed the two turn silent because she was lost in her thoughts. Ash cleared his throat. Fawn looked up slowly, as if she had been woken from sleep. The two males before her looked at the Hybrid expectantly.

“What?” The girl asked. “Did I light another house on fire again? Or did I make little Samuel Wynton spontaneously combust again?”

Ash and Tracer snorted with laughter at her comment. Fawn then remembered what the two were talking about.

“As if!” Fawn said, “Clearly I’m the best blacksmith because—”

The Hybrid was the first out of the three to actually give proof all night, so the Pheonix and the Shapeshifter knew that their sides of the argument were at an end. There was no point in arguing with Fawn.

“—My father had trained me before he passed, and he was the best blacksmith the kingdom has ever known, not to mention that he was the heir to the throne once, so he was pressured into being the best by his parents, my grandparents so if you’ll excuse me, I’m going to bed. It must be nearly midnight.” Fawn said as she stood from her seat. “Goodnight, you two.”

“G’night, pretty lady!” Ash slurred happily, a drunk smirk placing itself on his face.

All Fawn received from her mentor was a lopsided wave and smile. As she was heading to a spare room, she heard Ash whisper, “She’s s’pretty, ain’t she Trey? As pretty as a star!” Fawn laughed softly as she felt heat creep to her cheeks at his comment, but brushed the feeling off, thinking that he was just a drunk, and that she was the only one he could think was an angel in his drunken state.

The next morning, Fawn awoke with the sun in her eyes and her hair sprawled out on her pillow. She groaned in regret. Her head hurt slightly because of how much she drank. Even though she had a small buzz the night before, she regretted drinking immediately. Fawn ran to the privy, almost throwing up on the way.

“Gods, why did I even mention the fact that I was twenty-two?” She groaned before she heard someone knock on the door, she looked up, smiling half-heartedly.

“That must be quite a hangover, my friend,” Tracer said. “Even though you hardly drank anything.”

Fawn laughed, remembering what her two friends did late into the night.

“That’s because it’s my first time trying the stuff, that or I might have an intolerance, like my mother. But this is nothing compared to what you and Ash did last night,” Fawn said hoarsely before walking into her room and into the kitchen, where Ash was making breakfast.

Tracer paled at her words. He felt sick. The Hybrid smiled. Tracer looked at his friend, silently asking her how bad it really was.

“You two kissed each other while trying to prove to the other who was a better kisser,” Fawn said. “That’s the worst thing you two did. You two were out of it.”

Tracer laughed awkwardly and ran his fingers through raven black hair; in Fawn’s mind, she thought that he was going to break down and cry. Fawn snickered as Ash spun around, eyes widened.

“Liar!” Ash yelled. “You’re lying!”

Fawn burst out laughing and soon, tears were streaming down her face as they begged her to tell them the truth, and until she did, they would not feed her or talk to her. Hours later, she broke.

“Fine, I’ll tell you the truth,” Fawn said. “I actually dared you guys, I’m sorry…”

“Apology accepted,” Tracer said, a forgiving look on his face. “You better get ready to leave Fawn, it will take days to reach the kingdom.”

If only they could tell that Fawn was telling another lie. She couldn’t help it, it was quite hilarious to mess with her two closest friends.

~~~~~~~~~~~~~~~~~~~~~~

@calicoskatts Here’s the second chapter!! Sorry it took so long to publish it, I’ve been pretty busy with school and everything. I’m on my last two weeks of school for the semester and finals have started. But at least it’s published!!!

#finally published #school #finals #immmortals #chapter two #book one #trilogy #ash #fawn #tracer #youre welcome #i feel proud #Thanks Mr. Bigley

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pangeanews · 4 years

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“Lasciateci dissentire. Siamo scrittori e abbiamo bisogno di una cultura che ci lasci spazio per la sperimentazione, per l’assunzione del rischio e persino per gli errori”. Un appello contro il politicamente corretto

Non solo in Italia, evidentemente, ma anche in America un certo pensiero integralisticamente “correct” ci sta facendo soffocare. E fa cadere teste. Giornalisti, scrittori, studiosi, insegnanti beccati semplicemente a criticare o addirittura a non ossequiare abbastanza il pensiero mainstream perdono il posto di lavoro e di sostentamento. Ostracismo, maledizione sociale, gogna mediatica, perfino la galera stanno tornando di moda non verso persone violente o fraudolente, ma semplicemente per un pensiero espresso, un’opinione pubblicata. Non lo dico io; non lo dice un’accolita di reazionari o fascistoidi di ritorno. Lo dice un appello firmato negli USA da un gran numero di intellettuali, scrittori, docenti liberal e progressisti americani. Ha fatto specie infatti la pubblicazione su “Harper’s Magazine” del 7 luglio 2020 di “Una Lettera sulla Giustizia e sulla Libertà di Opinione” che propone la questione del rischio liberticida nella società causato da una certa deriva del pensiero unico dominante; in America è legata soprattutto ai tragici episodi della violenza della polizia ma anche della moda para-identitaria dei distruttori di statue, ma un rischio del genere in Italia potremmo correrlo anche con leggi come la Zan-Scalfarotto contro l’omotransfobia: qualora fosse approvata, potrebbe bastare una frase sbagliata per finire in prigione. Non so quanta eco questa lettera abbia avuto in Italia, temo molto scarsa. Per questo abbiamo deciso di proporla. Ringrazio per la traduzione Massimo Ridolfi, e non solo per la traduzione, ma anche per il dialogo, squisitamente e liberamente culturale, avuto intorno a queste problematiche. Idealmente ci aggiungiamo ai firmatari, felici di essere ultimi tra cotanto senno. Non sfugga che tra di essi spicca il nome di Noam Chomsky… (Gianfranco Lauretano)

Una Lettera sulla Giustizia e sulla Libertà di Opinione

Le nostre istituzioni culturali stanno affrontando un momento di prova. Le dure proteste per rivendicare una eguaglianza etnica e sociale stanno portando a richieste tardive in merito alla riforma delle forze di polizia (caso George Floyd, N.d.T.), insieme a domande più ampie di maggiore uguaglianza e inclusione in tutta la nostra società, non ultima nell’istruzione superiore, nel giornalismo, nella filantropia e nelle arti. Ma questa necessaria resa dei conti ha anche intensificato una nuova serie di atteggiamenti morali e impegni politici che tendono a indebolire le nostre norme che determinano la libertà di opinione e la tolleranza delle differenze a favore di una particolare adesione ideologica. Mentre applaudiamo gli iniziali esiti di tutto questo, alziamo però la nostra voce contro le sue immediate conseguenze. Le forze illiberali certamente stanno guadagnando forza in tutto il mondo e hanno un potente alleato in Donald Trump, che rappresenta una vera minaccia alla democrazia. Ma non bisogna permettere alle forze di opposizione di irrigidirsi e fissarsi nella propria impronta dogmatica o repressiva, che i demagoghi di destra stanno già sfruttando. L’inclusione democratica che desideriamo può essere raggiunta solo se manifestiamo contro il clima di intolleranza che si è palesato da entrambe le parti in causa.

Il libero scambio di informazioni e di idee, linfe vitali di una società liberale, sta diventando sempre più limitato. Mentre ci aspettiamo tale atteggiamento dalla destra radicale, la censura si sta invero diffondendo anche più ampiamente nella cultura cosiddetta democratica: intolleranza alle opinioni contrarie, un particolare gusto per il malgoverno e l’ostracismo, e la tendenza a dissolvere complesse questioni politiche dentro una accecante certezza morale. Sosteniamo il valore di un discorso controcorrente robusto e persino caustico da tutte le parti interessate. Ma ora è fin troppo facile sentire richieste di rapide e severe soluzioni in risposta a comportamenti ritenuti inopportuni e che percepiamo in tal modo solo grazie alla libertà di parola e di pensiero. Ancora più preoccupanti sono quei rappresentanti istituzionali che, nell’intenzione di contenere il danno, in preda al panico, stanno offrendo soluzioni affrettate e sproporzionate invece di riforme ponderate e durature. (Nel campo dell’informazione e della cultura, N.d.T.) i redattori sono licenziati per aver mandato in stampa pezzi controversi; i libri sono ritirati per presunta inautenticità; ai giornalisti è vietato scrivere su determinati argomenti; i professori sono indagati per aver citato opere letterarie in classe; un ricercatore è licenziato per aver fatto circolare uno studio accademico non autorizzato; e chi è a capo di complessi organismi ne viene espulso per quello che a volte è stato solo un errore materiale. Qualunque siano le argomentazioni su ogni particolare caso, il risultato è stato quello di restringere costantemente i confini di ciò che si può dire senza la minaccia di rappresaglie. Stiamo già pagando il prezzo con maggiore rinuncia al rischio da parte di scrittori, artisti e giornalisti che temono di perdere i propri mezzi di sussistenza (redditi, condizione patrimoniale, ecc., N.d.T.) se si discostano dal consenso o mancano di sufficiente zelo al sistema.

Questa atmosfera soffocante alla fine danneggerà quelle che sono le ragioni fondamentali del nostro tempo. La restrizione del dibattito, da parte di un governo repressivo o di una società intollerante, invariabilmente danneggia i più deboli e rende tutti meno capaci alla partecipazione democratica. Il modo per sconfiggere le cattive idee passa solo attraverso l’esposizione, l’argomentazione e la proposta, non certo cercando di zittirle o desiderare di allontanarle. Rifiutiamo qualsiasi falsa scelta tra giustizia e libertà, perché non possono esistere l’una senza l’altra. Come scrittori abbiamo bisogno di una cultura che ci lasci spazio per la sperimentazione, per l’assunzione del rischio e persino per gli errori. Dobbiamo preservare la possibilità di dissentire in buona fede senza il rischio di conseguenze professionali. Se non difendiamo la cosa da cui dipende il nostro lavoro (la Libertà, N.d.T.), non dovremmo aspettarci che il cittadino o lo Stato la difendano per noi.

Firmatari:

Susan Madrak, writer Phoebe Maltz Bovy, writer Greil Marcus Wynton Marsalis, Jazz at Lincoln Center Kati Marton, author Debra Mashek, scholar Deirdre McCloskey, University of Illinois at Chicago John McWhorter, Columbia University Uday Mehta, City University of New York Andrew Moravcsik, Princeton University Yascha Mounk, Persuasion Samuel Moyn, Yale University Meera Nanda, writer and teacher Cary Nelson, University of Illinois at Urbana-Champaign Olivia Nuzzi, New York Magazine Mark Oppenheimer, Yale University Dael Orlandersmith, writer/performer George Packer Nell Irvin Painter, Princeton University (emerita) Greg Pardlo, Rutgers University – Camden Orlando Patterson, Harvard University Steven Pinker, Harvard University Letty Cottin Pogrebin Katha Pollitt, writer Claire Bond Potter, The New School Taufiq Rahim Zia Haider Rahman, writer Jennifer Ratner-Rosenhagen, University of Wisconsin Jonathan Rauch, Brookings Institution/The Atlantic Neil Roberts, political theorist Melvin Rogers, Brown University Kat Rosenfield, writer Loretta J. Ross, Smith College J.K. Rowling Salman Rushdie, New York University Karim Sadjadpour, Carnegie Endowment Daryl Michael Scott, Howard University Diana Senechal, teacher and writer Jennifer Senior, columnist Judith Shulevitz, writer Jesse Singal, journalist Anne-Marie Slaughter Andrew Solomon, writer Deborah Solomon, critic and biographer Allison Stanger, Middlebury College Paul Starr, American Prospect/Princeton University Wendell Steavenson, writer Gloria Steinem, writer and activist Nadine Strossen, New York Law School Ronald S. Sullivan Jr., Harvard Law School Kian Tajbakhsh, Columbia University Zephyr Teachout, Fordham University Cynthia Tucker, University of South Alabama Adaner Usmani, Harvard University Chloe Valdary Helen Vendler, Harvard University Judy B. Walzer Michael Walzer Eric K. Washington, historian Caroline Weber, historian Randi Weingarten, American Federation of Teachers Bari Weiss Sean Wilentz, Princeton University Garry Wills Thomas Chatterton Williams, writer Robert F. Worth, journalist and author Molly Worthen, University of North Carolina at Chapel Hill Matthew Yglesias Emily Yoffe, journalist Cathy Young, journalist Fareed Zakaria

*In copertina: Martin Amis, ragazzo

L'articolo “Lasciateci dissentire. Siamo scrittori e abbiamo bisogno di una cultura che ci lasci spazio per la sperimentazione, per l’assunzione del rischio e persino per gli errori”. Un appello contro il politicamente corretto proviene da Pangea.

from pangea.news https://ift.tt/3fcWvAP

#news #Politica culturale #Gianfranco Lauretano #Harper's Magazine #Letteratura #Libertà #politicamen

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talhaghafoor2019-blog · 5 years

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Music Post: American music for strings

There was a golden age of classical music from 1850 to 1890 in the German-speaking lands of Europe. The leisure classes were eager to hear new works, and the hot performers of the day, including the old Liszt, the young Brahms and Clara Schumann, all on piano, Joseph Joachim on violinist, and several acclaimed quartets, were welcome, indeed expected, to play new works.

That nurturing of classical music, especially chamber music, happened later in Paris when the wealthy wives of industrialists would feed and water artists and musicians at Sunday soirees, collectively producing an incubation area for French composers.

In more recent generations we have seen Britain become a congenial place for community orchestras and bands, leading to, among other things, a large body of listenable British string music. The Naxos label has been recording this sort of thing and has gone above half a dozen releases without any sign of running out of material.

America incubated movie music and jazz and rock, but its classical concert audiences have remaining mostly interested in fresh performances of core repertory, which is to say, music written for Vienna in 1860 and Paris in 1910.

It’s big country, though, and there is more than enough American music for strings, to a two-hour episode of “Howard’s Day Off” with it.

Roy Harris (1898-1979) is remembered mainly as a symphonist, and there are some godawful recordings of Harris chamber works, seemingly designed to bury them. Finally, however, there are some new recordings which, among their many fine attributes, are in tune. Harris’s Third Quartet is an interesting work. Instead of the usual four movements it is a collection of preludes and fugues. We’ll open the first hour with the first prelude, and start the second hour with the third fugue.

William Schuman (1910-1992), a student of Harris who often sounds like Harris on a sugar high, is also remembered principally for his orchestral music (and his tenure as genial administrator of Juilliard and Lincoln Center) but wrote several quartets. We’ll hear the finale of the second one.

Elliott Carter (1908-2012) was also a genial man but most of his music wasn’t. He treated composition as an arithmetic problem and wrote tons of stuff that is far too important to enjoy. But his 1943 “Elegy,” originally for viola and piano but later scored for strings, speaks from the heart and can be enjoyed without a math degree.

Arthur Foote (1853-1937) is the composer most to be missed if you never hear music by pre-Gershwin Americans. Foote managed to remain innocent of an 1870s European education, and seemed more enthralled by Bach then late Romantic sorts.

John Alden Carpenter (1876-1951) is remembered chiefly for the witty “Adventures in a Perambulator,” a suite describing a baby stroller walk in the park from the point of view of the baby, and most listeners who later encounter his “Skyscrapers” are astonished by the different style. But Carpenter was a craftsman who avoided getting into a rut. We’ll hear the finale of his 1927 quartet.

Benjamin Lees (1924-2010) was a Russian born in China, but by the age of five he was a music student in San Francisco. He would later teach at Peabody in the 60s and at Juilliard in the 70s. Lees’ music is rhythmic but without the clichés of Americana. We’ll hear the third movement of his 2002 Fifth String Quartet.

Samuel Barber was just a boy when he decided to be a composer – a letter to his mother about this survives – so it should be no surprise that his mature style us evident in his Op. 1, “Serenade for Strings.” We’ll hear the first movement.

George Gershwin (1898-1937) died of brain cancer in his late thirties or we might have a lot more fine classical music. His “Lullaby for String Quartet” is marvelous.

David Diamond (1915-2005) was a nasty man who wrote astringent symphonies, but one particular exception stands out, “Rounds for String Orchestra.” We’ll hear one movement.

Dave Brubeck (1920-2012) used his West Coast conservatory training mostly to develop an advanced form of jazz, but his also composed classical music, and his “Chromatic Fantasy” is excellent both in solo piano and quartet form.

Aaron Copland (1900-1990) wrote little chamber music, but his “First Piece for String Quartet” has its points.

Peter Mennin (1923-1983), the buttoned-down president first of Peabody and then of Juilliard, wrote symphonies and concertos distinguished mainly by fierce propulsion. His slow movements tend to be suspenseful. We’ll hear the second movement of his second quartet.

John Adams (1947- ) wrote the masterpiece of the Minimalist movement, a sextet, and later for string orchestra, “Shaker Loops.” We’ll hear the finale of the fuller version of this 1978 work.

Wynton Marsalis (1961- ), the third generation jazz musician who returned to those roots after a remarkable career as a classical trumpet player, is the director of jazz at Lincoln Center. His first quartet, “At the Octaroon Balls,” is jazz-inflected classical music and it totally works.

Virgil Thomson (1896-1989), longtime music for the New York Herald-Tribune, would later make a symphony of his second quartet, which we here sample in its original version.

Robert Moran (1937- ), an early collaborator with Philip Glass, has written some interesting works that seem to occupy the space between Minimalist and Post-Minimalist. His “Points of Departure” is a good orchestral example; for quartet, I refer you to “Music from the Towers of the Moon,” adapted from a film score. The opening movement is the music over which I read underwriting credits each weekend.

(Howard Dicus hosts “Howard’s Day Off” on Hawaii Public Radio’s HPR-2, 5am-7am HST Saturdays, with a replay at 5pm-7pm HST Sundays. If you join the Howard’s Day Off Listener Appreciation Society on Facebook you’ll see cue sheets for the programs along with advance notice of the following weekend’s topic.)

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averycanadianfilm · 5 years

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A Very Canadian Film

"No Art or Act of Creativity stands in isolation, self-contained or uninfluenced by its times, its social and cultural environment, and its own history." - Gunther Schuller Luna: I get it, "A Very Canadian Film" is about Canadian culture. Sol: Well, really, they are about Samuel H. Lawson aka Tshi's experience of culture. As an artist I'm not interested in exploring or commenting on "Culture" as an abstract notion, rather, I'm interested in the individual's experience of the "Cultures" in which they are embedded. Luna: Can you give me an example? Sol: Sure. When Samuel H. Lawson was a graduate student at Columbia University he often went to a local bar called "Augies" (it's now called Smoke), on Broadway near 106th St. One night, a kid named Jesse Davis was playing the Saxophone, at the time he must have been around 20 or 21, just up from New Orleans. He was amazing! At "Augies", they had this huge metal bucket that they passed around between sets to collect money for the musicians. Now, from Samuel's perspective, Columbia University is in Harlem, he's a graduate student doing Mathematical Physics but he starts to play the Saxophone and then strange dreams and events begin to happen. Instead of his usual dreams about Poincare Surfaces, Feynman diagrams etc, he's dreaming about John Coltrane, who keeps showing up urging him to put more time in on the Sax. He's living in Harlem where he literally "bumps into Dizzy Gillespie" walking down the street, he meets a filmmaker friend for lunch and she's speaking with Max Roach, he travels down to the Village with her and they "bump into" Wynton Marsalis. He stops playing the Saxophone and thinks all of this will end. Luna: Does it? Sol: No, it doesn't. After he stops playing the Saxophone, Earl Hines, Jelly Roll Morton, Fats Waller, Art Tatum start showing up in dreams giving him advice about playing the piano. He tells them, I don't play the piano, they laugh and say, yes you do. As you can imagine this is more than a little bit disconcerting because he needs to get back to his Mathematical Physics dreams in order to finish his dissertation. Luna: But what does this have to do with Harlem? Sol: Imagine what it was like to be at a place like "Augies", in Harlem, when great music was happening. The place is packed, filled with old timers, regulars, and tons of young people but not just any young people. The joint is jumping. There are kids there from Juillard, Mannes School of Music, Manhattan School of Music, Fiorello H. LaGuardia High School of Music and Art and Performing Arts, Columbia Prep, and many more. Also, kids from Harlem, not just any kids from Harlem but kids who can really play, kids immersed in a rich cultural tradition of Blues and Jazz. You could say they're from the "Harlem School of Music and Culture". And not just a New York vibe, one night he met a kid from Cass Technical High School in Detroit, a piano player, at the time just a teenager, on his way to the Village for a gig. Luna: Does he quit his Mathematical Physics studies? Sol: He's not a quitter. But he feels fragmented, one day he's attending a Lecture by a Nobel Laureate and that night, a Courtney Pine gig. Luna: I see, so how does Samuel H. Lawson, finish his Mathematical Physics dissertation under all of that musical pressure. Sol: haha, in a dream one night Einstein shows up, smiling, with his violin. Luna: haha, I get it. So the film is about how Samuel H. Lawson left his career as a Professor in order to become a musician. His journey from "Fragmentation" to "Wholeness". Sol: In a sense, yes, but it's really about the twists and turns of fate and how the main characters, all very different people, from very different cultures are somehow, mysteriously connected. That's the real Mystery of Samuel H. Lawson. Luna: I see. It's about the main characters' journey from "Fragmentation" to "Wholeness" while embedded in their local cultures which, at a deeper level, are connected, since actually, everything is radically interconnected. Sol: Well said. Luna: Thanks.

Willow: Actually, the film is about us!

Oak: That’s right! We’re the main characters.

Willow: But, of course, we can’t say any more at this time because it’s all highly classified.

Oak: Top secret!

Willow: Need to know only!

Sol: Okay.

Luna: Great!

Written by Hubert Hugh Burke

#Samuel H. Lawson #Hubert Hugh Burke #A Very Canadian Film #Script #Manhattan #Columbia University

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naturallyblonde27-blog · 7 years

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nofatclips · 4 years

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Bow by Sault (featuring Michael Kiwanuka) from the album UNTITLED (Black Is)

Proceeds will be going to charitable funds

#somethingneweveryday #music #bandcamp friday #black is #sault #michael kiwanuka #michael samuel kiwanuka #inflo #dean josiah cover #dean wynton josiah cover

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dannyreviews · 6 years

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Entertainment Legends Who Should Receive The Kennedy Center Honors (2018 Edition)

Here is an update of the list that I did last year. I’m putting in new names and taking off those that have since passed away. I will update periodically.

Actors:

Alan Alda, Jane Alexander, Michael Caine, Zoe Caldwell, Leslie Caron, Diahann Carroll, Glenn Close, Billy Crystal, Daniel Day-Lewis, Olivia de Havilland, Judi Dench, Robert Duvall, Harrison Ford, Boyd Gaines, Joel Grey, Gene Hackman, Rosemary Harris, Anthony Hopkins, Glenda Jackson, Kevin Kline, Frank Langella, Nathan Lane, Jessica Lange, Ian McKellen, Helen Mirren, Christopher Plummer, Carl Reiner, Maggie Smith, Dean Stockwell, Dick Van Dyke, Denzel Washington, Betty White

Composers/Conductors:

John Adams, Daniel Barenboim, Valery Gergiev, Phillip Glass, John Corigliano, Dave Grusin, Gershon Kingsley, Francis Lai, Michel Legrand, Johnny Mandel, Ennio Morricone, Krzysztof Penderecki, Mike Post, Simon Rattle, Steve Reich, Lalo Schifrin, Leonard Slatkin, Michael Tilson-Thomas, La Monte Young, Hans Zimmer

Dancers/Choreographers:

Toni Basil, Savion Glover, Cynthia Gregory, Kenny Ortega, Susan Stroman, Tommy Tune

Directors:

Woody Allen, Francis Ford Coppola, Stanley Donen, Ron Howard, James Ivory, Norman Jewison, Franco Zefferelli

Musicians:

Herb Alpert, Vladimir Ashkenazy, Emanuel Ax, Burt Bacharach, Yefim Bronfman, Larry Carlton, Ron Carter, Ry Cooder, Chick Correa, Stanley Drucker, Bela Fleck, James Galway, Evelyn Glennie, Jimmy Heath, Keith Jarrett, Kim Kashkashian, Wynton Marsalis, Jean-Luc Ponty, Arturo Sandoval, Peter Schickele, Wayne Shorter, Pinchas Zukerman

Singers:

ABBA, Paul Anka, Charles Aznavour, Janet Baker, Cecilia Bartoli, Kathleen Battle, Shirley Caesar, José Carreras, Carol Channing, Eric Clapton, Judy Collins, Phil Collins, Renee Fleming, Barry Gibb, Kiri Te Kanawa, Allison Krauss, Jerry Lee Lewis, Gladys Knight, Little Richard, Patti Lupone, Audra McDonald, Bette Midler, Sherrill Milnes, Liza Minnelli, Van Morrison, Bernadette Peters, Samuel Ramey, The Rolling Stones, Linda Ronstadt, Renata Scotto, Bryn Terfel, Frankie Valli, Frederica von Stade, Willard White

Theatrical People:

Emanuel Azenberg, Alain Boubil/Claude-Michel Schonberg, Peter Brook, Michael Frayn, Athol Fugard, David Hare, Sheldon Harnick, Bill Irwin, James Lapine, David Mamet, Terrence McNally, Alan Menken, Trevor Nunn, Tim Rice, Stephen Schwartz, Peter Sellars, Tom Stoppard, Charles Strouse, Jonathan Tunick, Jerry Zaks

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