Culture

Culture

Returning to live gigs

Gigs. Remember them? They were awful. You’d get to some dump of avenue, in a bad part of town (if a small capacity) or out in some apocalyptic wasteland (if an enormo-dome). You’d arrive too early and have to try and dodge some mediocre support band (who’d bought their way on to the tour) or queue for seven hours for a beer in a plastic cup. If you dared to speak while some awful act was plodding away, some goody-goody would hold a finger up to their lips, glare and shoosh you. An hour and a half later in the back of the venue, you’d stand gratefully nearer to death’s beckoning cold hand. “Ever get the feeling you’ve been cheated?” Yes. When Covid rampaged through the world like a Viking raid of death-cult realtors, the world was suddenly shorn of live music.

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symphony

Get with the program

It was Rust Belt versus Sun Belt. Over the holiday season, I visited Pittsburgh’s Heinz Hall, located in the heart of the city, and Miami’s New World Center, a concert hall in South Beach. The former, a one-time movie theater built in 1927, looks like an oversized jewel box stuffed with red velvet chairs and glitzy chandeliers. The latter, a spectacularly intimate venue designed by Frank Gehry, serves as the home of the New World Symphony, a local outfit that operates as a final training ground for musicians who have graduated from conservatories and want to go on to play in major orchestras. In their own way, each of the carefully executed performances underscored that the obituaries repeatedly pronounced for classical music as a preserve of elitist white males are so much bosh.

What’s driving America’s sex recession?

Young people are having less sex, and not just because they’re getting married later. According to the General Social Survey, the percentage of never-married Americans between the ages of 18 and 35 who did not have sex in the past year rose from around 16 percent in 2000 to over 22 percent in 2021. Why is this happening? There are plenty of theories. In a 2018 piece for The Atlantic, editor Kate Julian came up with five: 1) porn and masturbation, 2) the elevation of other priorities over forming committed relationships, 3) the toxic dynamics hard-coded into dating apps, 4) advances in feminism that empower women to say no to sex they don’t want to have, and 5) an increase in anxiety disorders.

Marsalis

Wynton’s works

Jazz has periodically seen the rise of so-called “young lions.” The phrase was first used in 1961 as the title of a Lee Morgan LP put out by Vee-Jay Records, a black-owned company, with cover art that sports a photo of four lions lounging on a stone ledge. Then, in 1983, Elektra Records released an LP that was also titled The Young Lions, featuring Wynton Marsalis, Bobby McFerrin and a number of other young musicians who were focused on reclaiming the bebop tradition. Now, in late November, as Marsalis celebrated his sixtieth birthday with the Jazz at Lincoln Center Orchestra at the Rose Theater, his baritone saxophone player Paul Nedzela (as the New York Times reported) called out during a rehearsal, “It’s the Young Lions!

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How did Walt Disney learn from Ancien Régime decoration?

"Make it pink! Make it pink!” says the chubby fairy Flora, aiming her wand at Princess Aurora’s new ball gown in Walt Disney’s Sleeping Beauty (1959). A few magic sparks must have fallen on the walls of Disneyland’s Sleeping Beauty Castle in Anaheim, California, which have been painted (and repainted) in several shades of cotton-candy pink since the faux fortress opened in the summer of 1955, well before the film itself was completed. Two centuries earlier, in 1757, Jean Hellot, the general inspector of the porcelain factory at Sèvres, invented the slightly deeper “rose Pompadour,” a ground color named in honor of Louis XV’s chief mistress and the factory’s most important patron. This pink appears on the scallop-patterned lids of two large Sèvres vases (c.

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Truth in Duluth

The Venerable Bede writes of a pagan priest in seventh-century England who, sizing up the meager life of man, compares it to a sparrow flying through a well-warmed dining hall on a stormy winter night. The priest admits to knowing nothing about the cold darkness before or after the brief passage. He can only speak to the time the bird spends in the light. In Girl from the North Country (open run at the Belasco Theatre), the season is the Great Depression in 1933, and the dining hall is a flophouse in Duluth, Minnesota, where down-and-outers blow through like so many birds on the wind. The innkeeper, Nick Laine (Jay O.

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Jake Gyllenhaal is guilty

Jake Gyllenhaal is losing it. As with so many of his films — Demolition, Southpaw and Nightcrawler, to name a few — the actor’s latest, the unconventional crime thriller The Guilty, finds him yet again portraying a troubled man, beaten down and about to crack up. Joe Baylor is an LAPD cop relegated to working at the 911 call center as the result of misconduct some eight months before. Surly and apathetic, Joe answers the nightshift calls, ranging from drunken mishaps to carjackings, with a disgust he doesn’t care to contain. He longs to return to the streets. The night turns, however, when Joe fields a call from a woman (voiced by Riley Keough) who’s been abducted and is being held in a white van.

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Richard Lester at ninety

No matter how many years have passed since they first hit American airwaves, or how many of its members have died, or how aged its surviving members have become, the Beatles will always be, in our minds, forever young. To a large extent, the public perception of John, Paul, George and Ringo as personifications of youth, zest and zeal was a byproduct of their classic faux-documentary musical comedy, A Hard Day’s Night, released in the summer of 1964, just months after their appearance on The Ed Sullivan Show. It comes, then, as something of a shock to note the ninetieth birthday this month of the film’s prodigious and gifted director, Richard Lester. The maker of the Beatles movies (he also directed 1965’s Help!) a nonagenarian? It can’t be! But so it is.

How elites hijacked the conversation on race

Americans in 2021 spent more time watching TV than on any other leisure activity (outside of sleeping). Presumably those numbers increase during the holidays, especially given a hot NFL playoff race and endless bowl games (are you ready for Duke's Mayo Bowl?). Yet for me what stands out are not the touchdowns or halftime shows, but the commercials. Practically every commercial over the course of a three-hour football game features more people of color — blacks, Asians, Latinos — than whites. Many in the media and advertising are celebrating this for increasing diversity and inclusion, while others claim it undermines meritocracy.

Adieu, Teddy Roosevelt

It is a custom to offer a blindfold to prisoners facing a firing squad. Just so, the authorities covered the statue of Teddy Roosevelt that has stood in front of the American Museum of Natural History before it is carted off to its new home in North Dakota. Everywhere one turns, America’s past is being dismantled. Just last month, a statue of Thomas Jefferson that had graced New York’s City Hall for 187 year was removed.  At schools and colleges across the country, images are being covered or removed, buildings renamed, history rewritten. It’s open season on the past. Back in June 2020, I wrote about the decision to remove the statue of Roosevelt from in front of the institution he help to found.

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I’m dreaming of a ‘problematic’ Christmas

A new edict has just been handed down by our woke betters. According to an article at the Huffington Post, it is now forbidden to use the (distinctly holiday) phrase "let's work off ___," as in "let's go to the gym and work off those seventeen snickerdoodles and entire burlap sack of peppermint bark we ate yesterday." Per HuffPo, such fat-shaming, "while surely intended as a lighthearted joke, is seriously problematic, according to experts." It's the "according to experts" that always slays me there. And while I don't want to pit the authorities against each other, the doctors I've talked to have all warned that one consequence of engorging on sweets is that eventually you do turn into a lardass.

Cicero on rejecting the 1619 Project

“Why are the Wisest ever the most easy and content to die, and the Weak and Foolish the utmost unwilling? Is it not, think you, because the most Knowing perceive, they are going to change for a happier State, of which the more Stupid and Ignorant are uncapable of being sensible?” Thus wrote Cicero in On a Life Well Spent, a 2,000-year-old essay. The English version I possess was published by Benjamin Franklin in 1744, and it was beloved by the Founders, one of the most remarkable generations to have graced the North American continent. Well, so people used to think.

Assisted suicide is the new trans rights

You can 3D-print your own suicide pod now. No doctor’s note required. And it’s legal in Switzerland. One woman featured in the official announcement video called the pod “utopian.” According to one of the numerous news pieces covering Sarco (as the device is known), those who die by this and similar means are “cared for,” not “killed.” And yet that same article included the phone number of a suicide hotline along with a disclaimer: “If you or someone you know is struggling with depression or has had thoughts of harming themselves or taking their own life, get help.” But why? Is suicide bad or isn’t it? And if it isn’t, why are you telling suicidal people to get help?

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More woke gymnastics at the Tenement Museum

One of the great things about not being obsessed with racism is that you don’t have to put yourself through the mental twisty turns required to see racism in everything. For example, I don’t have to pretend that moving from New Jersey to Manhattan to find a new job was, for a free black man in the nineteenth century, the same thing as an Irish immigrant boarding a “coffin ship” hoping to survive the Atlantic journey, knowing his only alternative was to die of starvation during the Potato Famine.

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I could have been Kyle Rittenhouse

When I was 16, I threatened to carry out a school shooting. Okay, not really. I was sitting in math class with my hand up, trying to get the teacher’s attention. He called on one student, then another, then another. After the fourth or fifth time he failed to take my question, I became frustrated and said to myself something along the lines of “Oh my God, I’m gonna start shooting people.” I had no plans to harm anyone. It was a dumbass thing to say, even under my breath. You were 16 once, and I’m sure you said your share of dumbass things too. The timid farm girl in front of me overheard my comment and reported it to the principal. I was suspended for a few days and had to get a letter from a shrink saying I posed no threat to my fellow students. Soon, I was back in school.

A brush with Joan Mitchell

“I am not a member of the make-it-ugly school,” Joan Mitchell told Irving Sandler for an ARTnews article in 1957. No argument there. As the major retrospective of more than eighty significant paintings by the second-generation Abstract Expressionist (1925-92), now on at the San Francisco Museum of Modern Art, reminds us, Mitchell’s artistic life was an unabashed pursuit of the beautiful. Her paintings, derived from nature but fired in the kiln of memory and intuition, are testaments to that pursuit, showing us at once just how devilishly out-of-reach true beauty can be, and just how important it is to stretch one’s arms and go for it.

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six

Broadway’s back(side)

Six, a British musical about the wives of Henry VIII, is a scrupulously specious masterclass in frivolity. These onetime queens, blinged and bedazzled as fabulous pop-diva Kweens, undertake a six-way singing competition to decide who had “the biggest, the firmest, the fullest... load of B.S. to deal with” from their kingly husband. Backed by a live band, the sextet’s set amounts to the love child of RuPaul’s Drag Race and the Super Bowl halftime show. Those hoping for revisionist revenge fantasy will leave disappointed. Those seeking dramatic tension, character development, tragedy — anything having to do with the second half of the phrase “musical theater” — won’t find it here.

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A dream of a dress

In America: A Lexicon of Fashion, now at the Metropolitan Museum’s Costume Institute, leads with a quote from Jesse Jackson: “America is... like a quilt — many patches, many pieces, many colors, many sizes, all woven and held together by a common thread.” Odd, then, that framed above the first wall panel is a drab, blank-faced suggestion of an American flag constructed from just two rectangular pieces of faded denim. Created by Sterling Ruby as a mourning garment — a model huddles under a wearable version in the exhibition poster — “Veil Flag” (2020) sits awkwardly next to the bright patchwork skirts, dresses, trousers and jackets also on display in the first room. Yet it’s the right way to open a fashion exhibition that makes you think, not swoon.

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Roy Hargrove doubles up

There is a long tradition in jazz of duets between trumpeters and pianists. It’s a mercilessly revealing format, one that allows for no hiding on the part of either performer. But the payoff can be big. Consider the recording of the song “Weather Bird” by Louis Armstrong and Earl Hines in December 1928. Part of the epochal Hot Five and Hot Seven sessions that announced a new era in jazz, it featured Armstrong ripping up the old New Orleans playbook. Armstrong’s remarkable rhythmic innovations sometimes seem like the musical equivalent of a running back stutter-stepping to fake out his opponent before exploding downfield. He helped ensure that the Roaring Twenties really roared.

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Sounds of Christmas past

Remember when you were so nonchalant about the inevitability of Christmas privilege? Time off work for the holiday season, a few messy coke sessions with colleagues, maybe a boozy catch up with an old friend? Going out and about, buying your bourgeois real (dead) Christmas tree? Remember how you hated all that cornball Christmas muzak piped into the department stores: Slade, Wizard, Macca’s “Wonderful Christmastime,” The Waitresses’ “Christmas Wrapping,” Nat King Cole’s “Christmas Song”? Then along came Covid and Christmas was gone. You, my friend, were in lockdown. As each post-2020 festive season rolls into town, so will the new variants of Covid. The smart set decrees that it’s best we all hole up for the holidays and hide from disease and death.

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Can the University of Austin spark a new Enlightenment?

The University of Austin, America’s newest university, was launched this month. I am one of five founders, because I am convinced that higher education is at considerable risk. A new ideology — sometimes called social justice, and revealed in numerous ways, but most succinctly called “woke” — is taking a huge toll on the free exchange of ideas. Safe spaces and trigger warnings are demanded by students, and many faculty as well, rather than recognizing that challenge, risk, and discomfort create strength of will, and wisdom. Instead of being the adults in the room, scared and hapless administrators capitulate to their demands.

#FreeBritney is redemption for toxic celebrity fan culture

After thirteen years, the queen of pop is free. Britney Spears is liberated from a court-ordered conservatorship that gave her father immense control over her personal life and finances. This is a victory for Spears, for the fans who have campaigned for her — and for other, less famous Americans who are trapped in conservatorships. Spears recently requested a court remove her father, Jamie, as conservator, testifying in March that the conservatorship was “abusive” and that she was “depressed” by the lack of power she had over her own life. The court ruled to remove Jamie in September and dissolved the conservatorship in full on Friday. For Britney’s fans, the ruling couldn’t have come soon enough.

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Travis Scott, satanist?

Last weekend, eight people were killed and over 300 were injured at rapper Travis Scott’s Astroworld music festival in Houston, as the crowd surged toward the stage. If a nine-year-old boy who fell from his father’s shoulders fails to emerge from his medically induced coma, the death toll could increase to nine. Scott took the stage at 9 p.m. By 9:38, authorities had deemed it a “mass casualty” situation. Instead of stopping the performance and attempting to defuse the situation, as musicians often do, Scott continued performing for another 37 minutes. An ambulance entered the throng. The crowd chanted “STOP THE SHOW!” Two concertgoers climbed on stage screaming “People are dead!” at a camera crew.

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The rush to cancel old Halloween costumes

I'm holding a Polaroid taken at a Halloween party at one of my early State Department assignments in the 1980s. One of my diplomatic colleagues is in blackface. He’s done up to look like the minstrel player who was on the "Darkie" toothpaste boxes then for sale in every drugstore in Asia. You can see a photo of the packaging: the white teeth against the minstrel player's face were supposed to show how good the toothpaste was. My other colleague is dressed as the Frito Bandito, a caricature of Mexicans used to sell corn chips. The costume theme for the night was advertising icons. In the 1980s, these were acceptable ways to advertise and acceptable costumes for Halloween. Looking at the photo now, I realize it is a weapon.

The art world is cashing in on anti-capitalism

A few years ago, the American artist Barbara Kruger covered the facade of Frankfurt’s Kaufhof department store with a pair of huge eyes. It was as if Big Brother had come out of retirement. Above that unsparing gaze was the slogan, in Kruger’s signature Futura bold italic font: ‘You want it. You buy it. You forget it.’ It was a typical work of art by Kruger. She made her career from what’s called culture jamming, subverting media messages by transforming them into their own anti-messages and by indicting the business of capitalism. In 1987, for instance, she took an advertising image of an all-American boy flexing his juvenile biceps before his admiring sister and subverted that message with the overlaid words ‘We don’t need another hero’ for a billboard.

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Vital Morgan

The jazz world has seen more than its share of tragic deaths, whether it was the trumpeter Clifford Brown perishing in a car crash at night on the Pennsylvania Turnpike at the age of 25 or saxophonist John Coltrane succumbing to liver cancer at 40. But perhaps there is no more confounding early demise than that of the bravura trumpeter Lee Morgan. Morgan, who played with the likes of Miles Davis, Dizzy Gillespie and Art Blakey as a teenager, was known for his swagger, which he liked to call ‘expoobidence’, (which he deployed as the title for an album for Vee-Jay records in 1960 called Expoobident). It all came to a swift terminus in February 1972 after his common-law wife Helen, a tough cookie if there ever was one, pulled out a .

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Eternal Eastwood

No other actor epitomizes traditional masculinity and classic cool quite like Clint Eastwood. He long ago ceased being human and transformed into the American Man. When you watch an Eastwood movie, your understanding of Clint as the ultimate symbol of a bygone America is so potent that an otherwise mediocre movie like Gran Torino feels greater than the sum of its parts because of his mere presence. This is what an American man is supposed to look and sound like, you think, as Clint snarls and puts up his dukes. These young whippersnappers, they’re no good now, you hear. Which is to say that when you watch one of his films, you’re not watching the actor become a different character, but rather hoping to see ‘Clint Eastwood’.