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Applause, Please

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I cannot stand snobbery; I doubt anybody can. I am especially embarrassed to catch myself putting on airs, and I admit it happens from time to time.

The other night, I went to the symphony. I brought a co-worker who has become a friend.

Perhaps sensing that I might tend toward pretentiousness, she joked that I must feel as if I am bringing culture to a girl from Toledo. My reply was that I am merely a guy from another hour up the highway, in Detroit.

We heard Tchaikovsky's sixth and last symphony, his Pathetique. Before we sat down, I said to my guest, "Watch. I'll bet some people in the audience won't know. They'll clap after the false ending of the third movement."

If you aren't familiar with this score, it has a fascinating history. Observers have wanted to read into it more than the typical program.

Tchaikovsky died a week after conducting the premiere of this piece in 1893. He either accidentally drank contaminated water during a cholera epidemic or was forced to commit suicide to avoid disclosure of his sexual orientation, aged only 53. The composer dedicated his final work to his lover who also happened to be his nephew, Vladimir "Bob" Davidoff.

As it turned out, a smattering of listeners clapped early. From across the auditorium, you could tell they were chagrined. They stopped quickly. I imagine they looked around to see if they were noticed.

Tchaikovsky seems to have this effect. In his Fifth Symphony as well, audiences often fall for a pause.

Afterward, however, I realized I should not have said what I had. It was smug pedantry -- there is no other type of pedantry -- articulated to show off. Others have noted a potential revolt in our norms. It would be both democratic in spirit and harken back to the time when these tunes were the popular hits.

People who are enthusiastic about classical music should express themselves and allow others to do so. Those of us who care about it as a repertoire to be performed rather than a tradition to be admired should encourage more, not less, applause -- even if it comes at the "wrong" time. The judgmental types have it backwards. If you consider it for a moment, that spontaneous desire to rise to one's feet for an ovation is much more genuine and worthwhile than anything that is obligatory and polite. (If you would like to listen for yourself, try the Evgeny Mravinsky recordings with the Leningrad Philharmonic or the Mariss Jansons recordings with the Oslo Philharmonic.)

I cheer on those who put their hands together before Tchaikovsky's Fifth and Sixth have come to their respective anticlimaxes. They are the true connoisseurs.

The Arts and Humanities Are Alive and Well -- Just Watch the Millennials

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The arts and humanities might be going through a rough patch, but if you ask the Millennials they can tell you that disciplines such as classical music, visual art and fiction are alive and well. You may not find them living and breathing in your museum or symphony halls, in hard cover books or on century-old canvases -- but you might discover that their hearts are now beating to the bits and bytes of a new tempo.

Take for example Morgan, a student who took my Global Remix Culture class at Union College. She opened my mind to a new world of classical music as energized by groups like The Piano Guys. This American musical group, which includes a pianist, cellist and studio engineer -- not Millennials, but GenXers, by the way -- have been mashing up classical and contemporary tunes, such as Beethoven's Fifth Symphony and One Republic's song "Secrets." The result? One energetic and coherent composition called "Beethoven's 5 Secrets." And what is their compositional secret? Not to isolate, but to visually and viscerally elevate both classical and popular music through video mash-ups of piano and cello performances located in outdoor spaces including glaciers, canyons, and before the seven great wonders of the world. The result is a deeply moving, beautiful and infectious musical energy filled with a joy for composition and consumption that reaches across spaces and crosses generations.

Adding to this remixed appreciation of classical music in settings that inspire and uplift is the work of Lindsay Pollack, who began as a Rennaissance flutemaker in the 1970s and now creates different types of instruments through household items such as carrots and hoses. The rubber glove bagpipe or carrot flute are perfect examples of how Pollack, among others, inspire a new love for classical music among the young, admits Morgan, by personalizing the experience of, well, quite literally making music.

Classical art is no exception to the Millennials' embrace of a remixed and personalized culture centered on the arts and humanities. Another student in my course, Allison, shared with the class the cover of "ARTPOP" (2013), in which a sculpturized image of Lady Gaga is giving birth to a gazing blue ball before Sandro Botticelli's 1486 painting of "The Birth of Venus." The effect of this còllage created by American artist Jeff Koons (b. 1955) not only aligned the singer with the visual art world, but it also led to a new appreciation of high art that not only demanded extensive historical and visual knowledge, but particular interpretive skills needed to analyze the joining of three times (that of Botticelli, Koons and Gaga), three worlds, and three cultures.

Based on the analytical skills needed to interpret today's multimedia and multi-spatial and temporal worlds, Allison, who is an Art History major, is disturbed by the negative messages she and her classmates have received since childhood for their educational careers. Apart from the cuts to programs that removed opportunities in art, music, theater or dance from elementary to high school, the social attitudes she still has to face when asked questions such as: "What are you going to do with a degree in Art History?" and "Why not get a more useful major or minor?" deeply concern this young woman. But what she understands better than many adults is that the arts and humanities today are intrinsically connected to the everyday consumption, creation and sharing patterns of the Millennials. And that, in an ever-changing job market, her Liberal Arts degree in Art History will ultimately provide more opportunities than a profession-oriented degree, as has been well-documented by the American Association of Colleges and Universities, among others.

Allison understands that Millennials are customizing the arts in ways that allow them to document, share, and remix. For instance, she creatively defines Instagram's user profile as "a personal exhibit space" which tells a story through images and tags and which have led to gallery and photo competitions. In other words, the worlds of personalized, amateur creation are increasingly feeding into high art environments. She also understands that museums, galleries, theaters, musicians and artists use Instagram as a way to promote themselves and connect with others. The world of high art and customizable personal impressions are increasingly intersecting in spaces that expand and move beyond large stone buildings.

Today's visual and verbal culture is exploding out of the spaces and containers traditionally assigned to their existence and value thanks to the technologies and databases at the fingertips of us all. This is just one reason why the value of the arts and humanities cannot be measured by degrees awarded or money earned out of college. The thousands of fan fiction sites alone demonstrate the breadth and strength of today's artistic expression and storytelling possibilities. For this reason, Morgan, Allison and their classmates need, more than ever, the knowledge and training to become perceptive consumers, interpreter and producers of their remixed worlds.

This does not mean less support and education of the arts and humanities, less development of deep critical and interpretive thinking, less training of quality artistic products, fewer resources for the development of communication skills and dwindling support for the deep knowledge building and research skills derived from classes in Art History, Literature, or Music. On the contrary, it means that we need much, much more support for our young, lest we fall into a culture of amateurism, superficiality and blind following of trends and propaganda.

So let's stop talking about the death or decline of the arts and humanities. Let's explicitly engage with its rebirth. Let's keep an eye on the Millennials and let's give them the support and training they need to lead the way.

Under the Skin

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Would you be enticed by Scarlett Johansson even if you knew you were going to die? Would you be able to resist those sensual lips, even if you knew she was an alien who would destroy you? Would you be lured by the sight of her undressing, as are the marks in Jonathan Glazer's Under the Skin? Speaking of aliens, one of the most wonderful touches of the movie, which was adapted from a science fiction novel by Michael Faber, is that the Scottish residents of Glasgow, where the film was shot, all sound like them. It's practically impossible to fathom the accents, as Johansson in her iconic van asks for directions around town. Besides the accents there add an almost surreal reality to the film, accentuated by the fact that Johansson apparently was set loose in uncontrolled environments. In one scene when she trips on a sidewalk and falls on her face, it's reportedly the residents of Glasgow who came to her aid. This aleatory element only makes Under the Skin appear more like a performance piece or installation. Scarlett Johansson is definitely a drawing card for all the right and wrong reasons: she gives a bravura performance in which she succeeds in not anthropomorphizing her character and everyone wants to see her naked. But Under the Skin is the kind of film you could also see at the Whitney Biennele -- say something done by an avant-gardist like Matthew Barney in his The Cremaster Cycle. Narcissism is an overused word, but the scenes in which men with erections drown in an alien miasma are a unique spin on the myth (and demonstrate that the specter of Scarlett Johansson's body can be an alternative to Cialis). Glazer also redefines the meaning of the word inhumanity. When Johansson walks away from a crying infant whose parents have drowned, it's not that she lacks empathy. It's because her creation, at least at first, doesn't admit such an emotion into her vocabulary. The final scene in which the creature "under the skin," is set afire in the snow, as it attempts to escape, is the stuff of museums.



This was originally posted to The Screaming Pope, Francis Levy's blog of rants and reactions to contemporary politics, art and culture.

Ass, et al.

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Because I am an "emerging" artist, I can say whatever I want. I am mercifully un-tethered to a gallery or institution (save for the Brooklyn Children's Museum, and there I can plead the 5th-year-old). This allows a great deal of freedom, especially (spellcheck: shape socially) if you have only your own mouth to feed. Or put through college. Clothe. House. And otherwise nurture (spellcheck: jut unsure). Fortunately, my black ass has been gifted with zero fucks and zero dependents (spellcheck: defendants), so I can fully articulate what I think about the sugar sphinx at Domino, or more generally, those tooted (spellcheck: rooted) up butts that have predominated our Facebook, Twitter and Instagram feeds -- damn, I live for composing on the iPhone --since the middle of 2013.

I already have an intimate relationship with Beyonecea's (Beyonce + Panacea) booty, courtesy (spellcheck: course tub) of that Visual Album™, and Miley has wrecked her flapjacks into my psyche (you can't un-see that extreme case of Noassatall®). And I'm kind of over it. If you're going to go the Venus Hottentot route, then you should just mine Saartjie Baartman directly. Then it would be clear that you aren't trying to simply rehash old material and pass it off as contemporary art, or plead the 5th wave pool of feminism (HAHAHA WIPEOUT!) A historic excavation can serve as a reminder that the illest (spellcheck: illegal) shit has already been done. A fine reference, but history's very nature renders it predictable. Not the finest quality for an artist, but certainly a marketable one.

I occasioned upon the Negress (spellcheck: merges) Kara Walker, at a yoga class in 2011 during a durational performance piece I was doing that curiously looked like couch surfing. We noticed each other during the downward dog (tooted up asses and all that) and after class we got all blackgirl and just ran our mouths for nearly an hour. It was pretty great especially (spellcheck: shape socially) since one of the seeds of my own artistic practice was planted by photocopying the entirety of Narratives of a Negress at the Los Angeles Public Library (circa 2003). It was a reference book. Pero, anyways, during that post yoga conversation, I did mention that hoped for a career that could also support a cottage industry of haters, #workingonit. I believe she might have chuckled, and, after the New York Times article profiling said durational performance piece -- courtesy of Penelope Greene and Simone Leigh -- I reached out to Negress Walker for insight, having been contacted by members of niggertati who had previously left my emails unanswered. It was a glorious peek into to the possibility of wealth through creative product. The midtown studio (with shower) was a succulent dream to one who has perfected the bath-in-a-bucket™. I can't remember much of that conversation -- other than her mentioning a severely born-again relative and the short lived sensation that I had arrived (spellcheck: aggravated).

I suppose that's the most accurate description of how I feel about the sugar sphinx: aggravated. I hold Negress Walker in such high (spellcheck: hug) esteem that my expectation for innovation is beyonce some sugar coated secks doll, though (spellcheck: thigh) I've enjoyed the various selfies that now proliferate my Instagram feed -- pussy lips and ass pucker.

Bottom line: I wonder what truly separates this work from antique postcards depicting unfortunate Darkies (spellcheck: drakes) as gator bait, made provocative by a contemporary context. I'm from Florida; black bodies been big business. My maternal grandparents met while he was cutting sugar cane and she worked in the mess hall (spellcheck: messy all). And so it continues, I guess. Black bodies. Big. Business. It's just all so appropriately legible that any writer from the New York Times or The New Yorker or some other reputable culture commentary source can easily tease out the bleached-from-brown-labor-industrial-feminine-slave-black-to-the-future-BDSM-ancient-Egypt-thang that Negress Walker has presented so palatably.

In 2010, Walker along with a number of collaborators, created a project that supported discussion (spellcheck: division), provided exhibition space and served as a meeting place for artists and writers and the curious. During one of these gatherings (BYOB), I was witness to a statement that Walker used as a description of her own practice. She said that her "work is a machete" and while I adore the mental picture of Negress Walker hacking through the muck, I don't quite believe it. And certainly not a machete that cuts away an underbrush to revolutionize the way we see the American history that she seems to be so intrigued by. In the words of Tunechi (spellcheck: tin echo) "ain't shit sweet, niggas on the streets like hookers". And so, the work has in fact become a motto, a summary of her intention that gets repeated so everybody knows 'what's up'. My friend's grandmother recently celebrated her 102nd birthday. She doesn't talk much, a condition of extreme age, and eats lots of candy. Apparently sweet stuff is the only thing we can really taste when our sensibilities atrophy.

First Nighter: William Inge's Loss of Roses Somewhat Wilted

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It seems to me there's more than one reason for staging a revival. The first one that springs to mind, because it's the most obvious, is that a well-written and successful play is always a strong contender for old and new audiences.

A second reason is that a play by a respected playwright or even someone less respected that may have gotten lost in a show-biz shuffle at its debut deserves a second chance. A third is that audiences for a known playwright are not only ready to see anything from him or her but are even eager to know the entire canon, good or not so good.

These odd thoughts crossed my mind while sitting through the Peccadillo Theater Company's look at A Loss of Roses, William Inge's 1959 play now settled in at St. Clement's in association with La Femme Theatre Productions.

"Settled in" may be the wrong way to phrase it, since the drama's initial 25-performance run doesn't suggest that Inge's work, introduced at the end of a decade when he'd built a solid reputation, had the potential staying power of, for instance, Picnic and Come Back, Little Sheba.

Plays can be misunderstood during initial outings. They can often prove their worth in revivals, which perhaps Peccadillo artistic director and this production's director Dan Wackerman figured. If that's the case, he miscalculated. If he reckoned audiences are hungry for anything an author perpetrated, whether top-drawer or lower down, he's not on firm ground here.

Not only is A Loss of Roses not particularly forceful or insightful or trenchant or meaningful as seen 55 years on, it reveals something apparent earlier about Inge but is more noticeable now -- how doggedly he wrote in the shadow of Tennessee Williams. With The Glass Menagerie and A Streetcar Named Desire, Williams had established a template for a certain kind of play about longing and loss and repressed passions that Inge had done nicely using.

With A Loss of Roses, however, he revealed how tired the formula had become. That's the one where a family that may be going along relatively comfortably or, on the other hand, whose dissatisfactions have remained vague suddenly become threatened by the arrival of an outsider, an intruder, a flesh-and-blood catalyst.

There's no need to point out that the circumstances are rife in Williams's Streetcar and Inge's Picnic. And here they are again when the small-town Kansas home of Helen Baird (Deborah Hedwall), who lives with 21-year-old son Kenny (Ben Kahre), becomes a refuge for old family friend Lila Green (Jean Lichty).

Lila's been on the road for 11 years acting with what sounds like a third-rate troupe and looks that way, too, when members drop by for a short visit and include grand dame-ish Olga St. Valentine (Patricia Hodges), swishy Ronny Cavendish (Marty Thomas) and, most menacing of all, Lila's swain Ricky Powers (Jonathan Stewart).

They don't stay long but Lila does, and her taking up nervous residence signals that something could happen between her and hormone-explosive Kenny. It doesn't fall out in the first act, at the end of which not much has happened besides several minor mother-son squabbles. Well, he's the representative of rural dissatisfaction that sent Inge to the big city to write about the malcontents back home.

It's in the second act when all heck breaks loose. The delayed late night encounter between Kenny and Lila occurs while Helen, off to an evangelist's event, is inexplicably gone until the morning after. That upstage bedroom development is expected. Not expected--though necessary to foment the stakes-raising Inge needs -- is a handy but uncharacteristic psychological turn from Kenny that leaves all three focal figures at, as Inge's title all but promises, a loss. And not only at a loss but on their own with undetermined prospects.

Matters aren't much improved by the acting on view either. Hedwall is the best of the lot, giving a solid account of a widow trying to do the best by a boy she doesn't fully understand. Kayre is effective on Kenny's frustrations. Geoffrey Perri as Kenny's stuck-in-adolescence pal has some nice moments. The others range from fair to poor.

Harry Feiner is responsible for the sets and lights and, with Ido Levran, the projections design. (On the back wall is a view of a small town street with clouds moving across the sky above.) The '30s living room (with upstage bedroom) certainly looks authentic and features a find of a period sofa. (Where did Feiner come by something so perfect?) It's quibbling to point out that a candlestick telephone -- the sort with the long neck -- might be more appropriate for the time and place.

Wackerman and the La Femme crowd haven't done Inge much of a favor by bringing this one back. It's more like a disfavor. With The Acting Company's 2013 dusting off of the playwright's deficient 1963 Natural Affection as well as the mediocre Roundabout look at his Picnic, also in 2013, the producing outfits give the impression of joining a (surely unintended) campaign to confirm Inge's later reassessment as overrated in his heyday.

Let's just say the time has come for someone(s) to do right by The Dark at the Top of the Stairs. A first-rate production of that one would help restore at least some of the respect Inge once had.

Grave Robbing or Archaeology?

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Do human remains belong in museums? According to at least some of the families of 9/11 victims from the Twin Towers, they most certainly do not. This weekend, protesters held up unequivocal signs stating this belief: "Human remains don't belong in museums." The family members were protesting the move of the unidentified 9/11 remains from the medical examiner's office to the newly-constructed memorial and museum on the Twin Towers site. The remains will continue to be tested in the hopes of positively identifying them at some point, and they will not be stored anywhere in public view. While the museum will have a $24 entrance fee, there will be a families-only "Reflection Room" which will not require paid admission for the families of the victims. As with virtually all actions surrounding the site, some of the 3,000 affected families agree with the decision and some -- vociferously -- do not.


Since I did not lose a family member on 9/11, though, I do not even feel qualified to take a personal position on the issue. I simply do not know how I would feel if those unidentified remains contained fragments of one of my own loved ones, to put this another way. So I do not write today to stake out a firm position on the movement of the 9/11 remains this weekend, just to be perfectly clear up front. I'd rather try to make a larger point on the shift in what is considered proper for museums to study and display.


Watching the protests and the heartfelt emotions displayed, I couldn't help wondering about this bigger picture. Because human remains are indeed fully and publicly displayed at many history museums. Beyond bones and skeletons, there are also many cultural artifacts on display in museums that were dug up from burial sites. Which made me wonder where, exactly, do we draw this line? Or, in much blunter language: What, exactly, is the difference between archaeology and grave robbing?


That's obviously a loaded question. "Grave robbing" usually means digging up a burial site and making off with anything saleable which can be found within. It implies wrongdoing, desecration, and profit. "Archaeology" is a scientific pursuit dedicated to discovering how previous humans lived their lives. The two, on first glance, might seem to be so disconnected that any attempted comparison between them would hold no validity whatsoever.


Let's back off from such loaded terminology, though, to examine the heart of the issue. Because while there are no hard and fast lines, it seems to boil down to two concrete questions. The first is how long human remains have to stay in the ground before they are considered valid subjects for archaeology, and the second is the connection living people feel with the buried remains. Again, there are no bright dividing lines for the answers to these questions -- they indeed shift, over time.


If a scientist knocked on your door and asked you for permission to dig up your grandmother's grave and then to publicly exhibit whatever he found there (human remains, artifacts, whatever...), after which he would publish a scientific paper on how the peoples of her generation possibly lived -- what would be your response? Most people would not readily agree to this sort of thing, to put it mildly.


But what if the same scientist asked the same permission to exhume your great-great-great-great-great-grandmother? You can ask that sentence and vary the number of "greats" to see how intensely you would feel about your own ancestors. Your grandmother was quite possibly known to you and thus appears in your "living memory," while anyone further than great-grandmother would likely not have been personally known to you. This changes sentiments, obviously, but does it change them enough for you to grant the scientist permission to dig? And display whatever he found? How far back in your family tree would you stop having a personal connection and decide that scientific curiosity was justifiable to desecrate their final resting place?


You can look at it from the other end, if such questions are disturbing to contemplate. Very few people alive, after all, would argue that digging up fossils in Olduvai Gorge (think: "Lucy") is psychologically disturbing enough to forbid. We're talking about over a million years in time and ancestors that cannot even be accurately called "human." Archaeology wins this argument hands down, to put it another way. Moving forward, it's also hard to imagine anyone getting very upset over prehistoric or Paleolithic sites being dug up. Digging up Stone Age and Iron Age sites in Europe (and elsewhere) is far enough removed for no one alive to feel any familial connections. Therefore, archaeology wins again.


But even the dawn of recorded history isn't really a dividing line. Mummies of pharaohs (and others) from ancient Egypt actually did a lot to spur the origins of the scientific pursuit of archaeology, a few hundred years back. Such mummies were exhibited publicly pretty much everywhere at the time, from private collections to museums to traveling carnivals and freakshows. A corpse 4,000 years old was considered a curiosity, and no more. There was nothing sacred about it, especially considering that most religions practiced when the mummy was alive no longer exist, and most religions practiced today did not exist in the mummy's time. But was Howard Carter, discoverer of King Tut, really all that different from the tomb raiders of ancient Egypt? Carter didn't haul away everything in sight so he could sell it to the highest bidder, instead he hauled away everything in sight to display before the public. Is that a distinction with much difference? Tut's tomb is now empty, either way.


While mummification in Egypt was a religious rite performed by humans, there is another class of mummies which is also considered fair game for archaeology: bog mummies. People who disappear into peat bogs are sometimes kept in perfect anaerobic conditions which preserve the remains to a startling degree. Bog mummies appear from time to time, and they date anywhere from thousands of years ago (older than some Egyptian mummies) to fairly recent specimens (a German who disappeared in 1828 and was found in 1979) -- and everything in between. The bodies are so well preserved that it doesn't matter much how long they've been in the bog, to put it another way. Many of these were scientifically studied and ended up in museums (although some have since been reburied).


Since at least the Renaissance, Western civilization has been interested in systematically studying the cultures which have come before. An Italian historian created a guide to the ruins of ancient Rome as early as the 15th century. Europeans had plenty to examine in their own backyards, which led to interest in Stonehenge and other megaliths and monuments from pre-history. The towns of Pompeii and Herculaneum were buried by Mount Vesuvius in the year 79 and were subsequently excavated in 1748. By the 1800s, some scientific guidelines and principles began to be regularly used in the study of ancient sites. "Egyptology" became popular after Napoleon invaded Egypt, and the field spread when the British captured it from the French. But much of these early "antiquarians" were little more than grave robbers (at least, as seen in modern context), since they were most concerned with looting sites of anything valuable and then transporting the treasures back home. Sometimes such items would wind up in private hands (usually, the people who footed the bill for the expeditions), and sometimes they would wind up in museums where the public could at least view them. But scientific study of such sites took over a century to become standardized in any way, and many early "Egyptologists" were nothing short of treasure hunters.


Because of the interest in ancient artifacts (including, in Egypt, the mummies themselves), the local populations near ancient sites realized there was money to be made, which set off a wave of looting that continues to this day (the black market in antiquities has never really gone away). Owning something man-made that is really old -- especially something old that is beautiful -- was a much bigger motivating factor than any scientific study of the culture which created it. And, in the case of museums, the public's curiosity was certainly more important (it was thought) than respect for ancient graves or even respect for keeping cultural treasures in the country they originated from.


Since Christianity has dominated Europe, human remains have been treated in various ways during various periods. By modern standards, the thought of digging up Christian graves from, say, the Middle Ages would be somewhat controversial. Digging up Christian graves for the sake of science might be considered acceptable if they are ancient enough, to put this another way, but the closer you get to modern times, the more controversial such research would become. Especially if it included digging up (and then publicly displaying) relics which had been buried in such graves. Where does the idea of "desecration" begin and the idea of "important scientific research" end?


The Catholic Church isn't much of a guide, considering its own penchant for holy relics. During the Dark and Middle Ages, trade in saints' relics was lively indeed, until virtually every cathedral could boast of having "authentic" bone fragments of one saint or another. Since there was little to regulate such a trade, needless to say, forgeries abounded. Possessing the bones of a saint meant people would make pilgrimages to the cathedral, which did wonders to boost the local economy -- which was why the relics were so valuable. Sometimes relics would only be displayed on certain holy days, but in some instances they were openly displayed in "reliquaries" (some of which appear rather gruesome today). The practice has not completely died out, however, as during the recent canonization of two former popes, their official relics were displayed: a piece of skin cut from Pope John XXIII (when he was exhumed, so his corpse could be publicly displayed for veneration in 2001), and a vial of blood from John Paul II.


The two relics from the new saints will not be displayed in a museum, but rather in a church. Contrary to the protest signs from the 9/11 families, however, human remains are indeed currently displayed in museums all over the world. From fossils to skeletons to Egyptian mummies to bog mummies, human remains are not only displayed publicly, they are (in the non-public areas) actually stockpiled in many museums, for scientific study. The only question is where the line is drawn, chronologically. It cannot be said to be drawn before written history, because ancient Egyptians certainly knew how to write. It cannot be said to be drawn on religious lines, since the Catholic Church exhumed a body a little over ten years ago and snipped off a small piece of it for continued veneration.


While drawing a line between grave robbing and archaeology is tough to do when you strip all the scientific rationale away, the question is mostly now answered by who gets offended. Digging up colonial graves in America would mean offending the descendants of the people buried there -- who still exist, in many cases. Digging up graves on old farmsteads on the Great Plains or from Gold Rush camps in the Yukon would also likely raise some form of protest from the families involved. In either case, if the graves were accidentally discovered what would likely happen is scientists would have a short window to catalogue and record the contents of the graves, and then they would be reburied, most likely with the benefit of modern clergy. It would seem the only respectable thing to do.


Which, at long last, brings me to the point I set out to make. The United States Congress acted in both 1989 (with the passage of the National Museum of the American Indian Act) and in 1990 (with the Native American Graves Protection and Repatriation Act) to start including Native Americans in the respect that would likely be given to any other historical American grave. The Smithsonian Institution at one time held the remains of around 20,000 Native Americans, for scientific study. This included the brain of a man scientists named "Ishi" (which only means "man" in his language, as his true name was sacred to him and never admitted). You may have heard of him described as the "last wild Indian," or perhaps from the book Ishi In Two Worlds (which was compiled by Theodora Kroeber, the widow of museum director Alfred Kroeber, after her husband's death).


Ishi appeared out of the Northern California wilderness in 1911. He was starving. He was taken in by the Museum of Anthropology (part of the University of California system), and hired as a research assistant so he could live out his life in an apartment in the museum. He worked closely with both Thomas Waterman and Alfred Kroeber, who gained a wealth of information about the culture of Ishi's tribe (of whom he was considered the last surviving member). Ishi, however, had no immunity to Western diseases and was often sick, and he died of tuberculosis only five years after he arrived at the museum, in his early 50s. Over some objections, his body was autopsied and then cremated, although his brain was preserved. Kroeber sent Ishi's brain to the Smithsonian in 1917, where it remained until the year 2000, when it was sent back to his closest descendants (of the Yana people), in keeping with the spirit of both the National Museum of the American Indian Act and the Native American Graves Protection and Repatriation Act.


This newfound respect for human remains of Native Americans is not complete, though, even if Ishi's story has a positive ending. The laws only cover remains which can be linked to existing Native American groups today, after all, and not the more broad description they prefer -- that all Native American remains are linked to them through over 10,000 years of oral histories, and they should all be respectfully repatriated (rather than being studied in a museum). The courts are still deciding some cases in favor of the scientists and against repatriation, however, even with the new laws.


As I said, I am not going to offer any opinion on the families of the 9/11 victims in New York. That is for their own families to do, I feel. But America has moved from digging up Native American graves for profit (which was clearly nothing more than grave robbing, and started with the earliest European settlers), to scientifically examining human remains and artifacts from such sites, to finally realizing that the descendants of the bodies they are examining are offended by the bones of their ancestors being kept in museum storerooms. That is progress, of a sort. It is incomplete, but it is at least moving us in the right direction. Because what one person's (or "one scientist's") determination of "this grave is old enough to only be of scientific value or interest" is no longer the last word on the subject, when others feel differently. The line between scientific interest and considering graves sacred has never been a hard and fast one. What is considered proper to display or hold in museums has also changed, over time. And where that line should be drawn depends on who you ask.


 


Chris Weigant blogs at:
ChrisWeigant.com


Follow Chris on Twitter: @ChrisWeigant
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The music of our lives: Sarah Bush Dance Project (Rocked by Women)

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It's been a great season for music in dance on the Left Coast, from Zoë Keating's haunting cello in ODC Dance's boulders and bones, to Ratmansky's Shostakovich Trilogy at San Francisco Ballet, Mark Morris' Handel extravaganza, Liam Scarlett's meditation on Philip Glass, Samuel Carl Adam's ghostly soundscape for Robert Dekkers' cares you know not, Amy Seiwert's tribute to Cesaria Evora, and Emil de Cou's bracing delivery of Stravinsky's Rite of Spring for Molissa Fenley at Pacific Northwest Ballet. Nothing, however, rivals the towering score designed by Julie Wolf for the Sarah Bush Dance Project's Rocked by Women, which exploded this past weekend at Dance Mission Theater in San Francisco.

An artfully curated compilation of some of the most powerful songs by female singer-songwriters, rockers and rappers, galvanizes this 70-minute work that spins the personal into the political with a (mostly) deft touch. Spliced into the score is poetry by Judy Grahn and commentary by Judy Dlugacz, founder of the iconic Olivia Records, on creating a women's movement through the culture of music. In lieu of a backdrop, some of the dance sequences take place in front of, or behind, a screen onto which is projected intriguing film footage from the Michigan Womyn's Music Festival, including a terrific Taiko drumming sequence, and from Club Q, the legendary lesbian dance party that rocked San Francisco in the late 80's and early 90's. Weaving it all together are fragments of sound brilliantly engineered by Wolf.

Against this blazing soundscape, choreographer and artistic director Sarah Bush chronicles the milestones in her life in an effervescent movement argot that borrows freely from various contemporary schools of dance including contact improv, Graham and Horton techniques, jazz and hip hop. She and her company of five powerful women take on the roles of young children, teenagers, mothers, lovers, dancers at a club, and Greek chorus. You don't have to be a child of the 70's, or a lesbian, or a feminist, or female, to share the moments of puzzlement, frustration, and joy, the heady rush of the adolescent crush, the pangs of passion, jealousy, and outrage. The genius of this piece lies in its depiction of a journey that will be familiar to some, foreign to others, but that draws us all in with the seductiveness of the music, the vivacity of the dancers, and the austere and nimble staging, which bears the imprint of collaborator and theatre director Becca Wolff.

While the choreography does not always soar as high as the score, there are many touching and thrilling moments. "Hearing the Gossip," to a buzzing, machine-gun-like score, takes us back to the time of telephone handsets with coiled cords. A brilliant parody of "The Telephone Hour" in Bye Bye Birdie - the musical satire on American society's obsession with Elvis Presley, set in 1958 - "Gossip" has the ensemble all tangled up in phone cords, spinning gossip like a spider's web. When Bianca Mendoza drops her handset, the teenage mob turns their collective back on her - unfriends her, in today's parlance.

Two innocent young girls armed with a boombox, on a mission to make a mixtape, get a glimpse of the wild side as Melissa Etheridge bares her fiercely Chrome-Plated Heart ("And the only way I know where the train will go/ Is when I'm sleeping on the tracks.") With the simplest yet most evocative of movements, Bush conveys a swirl of tender emotions.

Ann Wilson of Heart wails "What about love?" as we witness a grotesquerie of the dating ritual at a disco club. Dancers hilariously disguised as teenage boys - their backs costumed in jackets and ties, baseball caps and dark glasses - grope their unfortunate female dates.

Mesmerized by Tracy Chapman's "Fast car" ("You got a fast car/ I want a ticket to anywhere/ Maybe we make a deal/ Maybe together we can get somewhere") the adolescent Mendoza tentatively explores her romantic feelings for a pal, Natalie Aceves, who reciprocates, then backs off under peer pressure. In despair, Mendoza gets behind the wheel and wrecks an imaginary car.

The very funny "Record store" transports us to a pick-up joint, in which Sarah Bush browses the LP's and evaluates potential romantic liaisons with women who each embody a different song. She steers clear of Natalie Aceves' aggressive rocker chick (Joan Jett in "Cherry Bomb"), Krystal Bates' hip hop dynamo (Queen Latifah in "Evil that men do"), Bianca Mendoza's punk "Rebel Girl" (Bikini Kill) and Joanna Gartner's cynic who claims to "want somebody who has a tortured soul/ some of the time/... who will either put out for me/ or put me out of misery" (Ani DiFranco in"Asking too much").

But she falls hard for Juliann Witt's reefer-smoking house dancer (Missy Elliott in "4 My People"). It seems inevitable that their love-making would be fueled by Melissa Ferrick's steamy "Drive": "I'll give it to you slowly/ ...Whatever you want/ But you're going to have to ask me" - and that's just the beginning.

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But the course of true love never did run smooth, and Bush is as adept at choreographing heartbreak as she is at erotic communion. At Club Q, to the strains of Missy Elliott ("The Rain": "beep beep/ who's got the keys to the jeep"), Juliann Witt has a fling with Krystal Bates. Bush catches her in the act of betrayal, and is stricken, to the accompaniment of Meshell Ndegeocello's "Fool of me." The ensemble form a Greek chorus, amplifying her pain and humiliation, and, instead of throwing furniture or china, Bush slams LP's to the ground - smashing the music that framed an intimate relationship. Repeated over and over again with a stirring martial arts flair, the record-smashing turns into ritual, culminating in a magnificent encounter between Bush and Natalie Aceves, who shove and grapple and slam their bodies against each other with a ferocity unmatched in dance, except perhaps in Spartacus, that old Soviet warhorse about a reckless, tormented gladiator.

Bush steers clear of cliché when choreographing desire and pain, but hits a few potholes on the road to liberation. A segment on the bullshit that cosmetics companies feed us, and the masks we wear to paper over our insecurities, lacks bite. Bush also takes a hackneyed shot at ballet as a symbol of the oppression of the female spirit. Once freed from their confining ballet poses, her dancers ecstatically embrace twisty, weighted movements and flex their feet when they jump - this felt very Judson-era, been-there-done-that. Bush might want to pick up a recent sociological treatise on ballet, like Jennifer Fisher's illuminating Nutcracker Nation for a 21st century feminist perspective on the art form.

Least effective of all was the final pensive incantation of the names of female recording artists by the dancers as they walked slowly in circles around the stage, carrying white LP's in their hands. It felt like a rather promiscuous list - in contrast to the supremacy of the handful of artists represented in the score. Included in the shout-out were some performers who have probably set the women's movement back a few decades with their lyrics and their escapades on and off stage. (Interestingly, one name that I didn't hear was Yoko Ono. Is it possible that Bush has not yet forgiven her for breaking up the Beatles?)

These are small flaws in the fabric of this monumental work, which would reverberate just as powerfully in an opera house as it did in the intimate Dance Mission Theater.

The feel-good closing a cappella reprise of "Mountain Song", with the dancers in fine voice, stamping and clapping and egging the audience on, reflects the generosity of spirit that pervades the entire piece. Club Q may be no more, but Sarah Bush knows how to throw a good party and create a space where everyone feels like they belong, if only for one night, and where the music tells the story of our lives, not just hers.

Photos courtesy Sarah Bush Dance Project:

1. Photo by Desdemona Burgin
2. Photo by Molly DeCoudreaux

Short Takes

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Whether one chooses to think of them as the dramatic equivalent of dim sum, the theatrical version of tapas, or the documentary field's offering of donut holes, short plays and films have a dynamic all their own. For playwrights and filmmakers, the old axiom that "less is more" offers a curious artistic challenge. Many aim to tell their story succinctly, with little time devoted to fuss or frenzy.

  • A playwright may have anywhere from one to ten minutes to spark an audience's imagination.

  • A filmmaker may be able to do more in five minutes with animation than he might be capable of handling if forced to devote 90 minutes of screen time to a full-length feature.


During CAAMFEST 2014, a shorts program entitled Canadi(an)imation included a provocative set of stories under the umbrella title of Crime: The Animated Series. Each told a vivid tale in a surprisingly powerful way. Here are four of the best:











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Several small nonprofits regularly offer aspiring playwrights an opportunity to write short plays and have them staged before an audience. Incubators like Playground specialize in assigning a topic to a group of playwrights for an evening of 10-minute plays. Others may simply choose a theme and work with a group of writers to see what develops.

For the past few years, the Left Coast Theatre Company has worked to "develop and produce quality LGBT theater featuring new works by both Bay Area and national playwrights." As with any tasting menu, some items may be light as air; some may be bitter and poignant. Many are hilariously funny.

This spring's collection of Twisted Fairy Tales was notable for its two strongest themes: the meddling (for better or worse) of a fairy godmother and the ability to mine new comic material from the classic tale of Cinderella.


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Written by Rodney "Rhoda" Taylor, and directed by David Rice, My Fairy Godmothers revealed what can go wrong when the performance skills of Edwina (John Terrell), a "Fairy Godmother in Training," are unexpectedly assessed by her superior, Hilda (Desiree Rogers) who has accidentally sent Edwina to the wrong address. After the two start arguing and awaken Jimmy (Kai Brothers), they are shocked to learn that Jimmy doesn't need their assistance finding true love because he's already married to another man.

Directed by Joseph Frank, Nick Brunner's Calc 101 introduces a screamingly annoying Fairy Godmother (Val Garrahan) to a math class being taught by a Professor (Chris Maltby) who is trying to keep his high school students under control. Among these are:

  • Jack (David Glazer), an annoying little twit who won't stop screaming the lyrics to "There Are Giants in the Sky" despite the fact that no one has paid Stephen Sondheim for the rights to use his song.

  • Chicken Little (John Terrell), who keeps tossing miniature chocolate bars in the air and warning that "The sky is falling."

  • Rapunzel (Rodney "Rhoda" Taylor), a homely drag queen with a defiantly messy wig.

  • Captain Hook (John Terrell) and Peter Pan (David Glazer).


The real action, however, involves a tug-of-war between the closeted, nerdy Kyle (Luis Quiroz) and super mean girl Janet (Lauren LeBeouf) for the attention of dumb jock Evan (Max Hersey) who, as luck would have it, is secretly hoping for an excuse to dump Janet and find his way into Kyle's pants.


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Written by James A. Martin and directed by Debi Durst, Poof introduces the audience to nine-year-old Timmy (Tye Olson), who is convinced that he's destined to be a Boy Princess. After being given a magic wand by a cross-dressing homeless man (Paul Dana), Timmy finds a way to use its powers on his obnoxious Stepsister (Val Garrahan) and disinterested Stepmother (Kim Saunders). When Timmy's father (Dene Larson) realizes how much he has ignored and underestimated his son, a brighter future beckons for the men (including an Italian bodybuilder to fulfill the erotic fantasies of the cross-dressing homeless man).


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Tye Olson as Boy Princess Timmy in Poof



Written by Chris Maltby and directed by Scott Boswell, Happily Ever After examines what happens when two young men who have always taken cues from a mysterious "voice" find themselves in a brave new world where same-sex couples have evolved from an immoral and impossible concept to a shining new reality. Ever the dumb member of royalty, Prince Crispin (David Glazer) has no idea how to proceed without a narrator guiding him to his future. However, the Prince's boyfriend, Garrick the Stable Boy (Tye Olson), proves to be a quick learner at the hands of The Voice (Kai Brothers) and quickly dumps the Prince for someone with more pluck who's sure to be a talented and accomplished fuck.

Directed by Margot Manburg, Matt Crowley's touching The Mice Will Play is an extremely poignant piece for two women. Francesca (Sarah Doherty) and Julia (Beebe Reisman) were two mice pulling Cinderella's coach until they were suddenly transformed into humans, capable of feeling emotions such as yearning, doubt, and love. As midnight approaches, and they start to explore their feelings for each other, the two women wonder if they'll ever have a chance to feel this way again.


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If you think you know the story of Little Red Riding Hood, you need to experience Eat Me! Written by Paul Dana and directed by Joseph Frank, this farce features David Glazer as a social-media fixated young man wearing a red hoodie, Gabrielle Motarjemi as his exasperated grandmother, Richard Ryan as a hungry Wolf on parole, and John Terrell as the local Sheriff who likes young boys.


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Debi Durst is Wanda in Stepmother's Manifesto



Last, but certainly not least, is Heather Meyer's Stepmother's Manifesto. Directed by Scott Boswell with Richard Ryan acting as Narrator, this piece gives the exhausted Wanda (Debi Durst) a chance to debunk the claim that she is Cinderella's "evil" stepmother.

With good reason to resent being described as evil to generations upon generations, Wanda pulls back the curtain on what life is really like in her home. Of course, there's ugly stepsister Celeste (Rodney "Rhoda" Taylor) and Cremora (Gabrielle Motarjemi), the ugly stepsister who has a wicked crush on Cinderella. But Cinderella is no pillar of virtue. Instead, the short-tempered, narcissistic young woman (Val Garrahan) gives the nervous Prince Charming (Max Hersey) plenty of reason to wonder if she's worth his time.


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Cast members from Twisted Fairy Tales after a performance





To read more of George Heymont go to My Cultural Landscape

6 Remarkable Re-Imaginings of Marilyn Monroe

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When I was working on The Blonde (in which Marilyn Monroe is coerced into spying on the president of the United States by a mysterious K.G.B. agent), I avoided fictional representations of Marilyn because I didn't want to be influenced or to inadvertently steal another writer's observations. Mostly I read biographies, conspiracy-minded books about her death, watched her movies, and studied the work of the many still photographers who became enthralled by her image and persona. Actually, to meditate on M.M. is, more often than not, to be in thrall -- it's easy to identify fellow travelers, the ones who've been similarly bitten and become slightly crazed with the notion she explains everything about some big theme. Like America. Or Death. To live in Marilyn-land is to feel, by turns, tenderly toward and manipulated by and afraid of exploiting her. To follow in her footsteps is sort of like falling in love. Once I finished my novel I decided I didn't want to think about her for a long time -- but like lots of habits the recidivism rate is high, and I've been drawn back in.

There is a lot of Marilyn out there, but the following are my favorite retellings of the Monroe Myth:

1. Joyce Carol Oates, Blonde
Blonde is the heavy hitter of Marilyn novels, ranging from her fated birth in the city of angels to her weird and untimely death, at thirty-six, just across town. Because this is Oates (a genius and also my favorite person on twitter), Blonde is not exactly the straightforward epic life of -- , but it nonetheless aims for the whole biographical sweep, managing to portray its subject's yearning, violent, scattered consciousness and also her meaning as archetype. Joe DiMaggio is the Ex-Ballplayer; Arthur Miller is the Playwright; Marilyn is sometimes the Beggar Maid and sometimes the Fair Princess. So: Oates is fascinated by what the dark ballad of Norma Jean signifies, but that doesn't mean she's satisfied by the lame conclusion of many others, which is that because Marilyn so effectively drew the male gaze, she -- as a human being -- was somehow unknowable. The inner life, the sensations of her body, are all here, over seven hundred pages of what Marilyn was -- complicated, beautiful, awful, and moving.

2. Andrew O'Hagan, The Life and Opinions of Maf the Dog, And His Friend Marilyn Monroe
Andrew O'Hagan foregoes a trip inside her head, and in The Life and Opinions of Maf the Dog, And His Friend Marilyn Monroe gives us the goddess through the eyes of her pet. I am usually anti-animal narrator (a cheap trick akin to having your child do your begging for you), but this novel works, in part because O'Hagan's writing is so good (the voice of Maf, a Maltese, is literary and wicked and delicious), and in part because his device speaks to Marilyn's special relationship with the vulnerable creatures of this earth. Her experiences as an un-parented child and a young woman struggling to rise in an abusive, misogynist industry made her sensitive to those who were likewise subject to the violent and stupid whims of the people in charge (see Arthur Miller's flimsy, paternalistic short story "Please Don't Kill Anything," published while they were married). Plus, dogs are the perfect foil to human loneliness, and on some level Marilyn is just the loneliest.

3. Michelle Williams in My Week With Marilyn
If Blonde is the definitive novel, Michelle Williams in My Week With Marilyn is the virtuoso performance, unafraid to go with the mega star (the film takes place in 1956, when she was already beyond famous) to the places where she was confused, trouble-making, puffy, or sad. Watching Williams giggle and vamp as Marilyn playing the showgirl in "The Prince and the Showgirl" is as much fun as watching Marilyn in the original, but there's an uncanny quality, too, which is that because Williams is doing those familiar mannerisms -- that walk, that voice! -- but could never look exactly like one of the most photographed and reproduced faces ever, it is as though you are seeing Marilyn slant. Not as she was on screen, nor in real life, but as a work in progress -- Marilyn as she might have looked in the mirror.

4. Nicolas Roeg, Insignificance
Insignificance, Nicolas Roeg's 1985 film, is definitely in the Marilyn Monroe Theory of Everything category (or rather Monroe + DiMaggio + Einstein + McCarthy, the other icons who mix it up one loony night in New York City). Theresa Russell does a wonderful and manic, if somewhat campy, job as "the Actress" (the white halter dress leaves no doubt about which actress), but I think this movie is worth the price of admission just for its fake Marilyn Monroe-ism (a wonderful genre, equal parts Lorelei Lee, Dorothy Parker and Mae West, a few of which are actually attributable to M.M. herself): "Ever noticed," says The Actress to The Professor, "how 'what the hell' is always the right decision?" I tell myself that one pretty much every day.

5. Truman Capote, A Beautiful Child

Truman Capote's elegy A Beautiful Child -- in which actress and author hook up at a funeral, then gossip and spar all afternoon, drinking unchilled champagne at a Second Avenue Chinese place and watching the seagulls at the South Street ferry dock -- is perfect. Although Capote probably fabricates some of his remembrances, he delivers what I take to be an honest portrayal of wasting time with Marilyn, of being in the company of her famous vulnerability and moodiness, but also her toughness and wit. She asks what Liz Taylor is really like, and he answers: "she's like you, she wears her heart on her sleeve and talks salty." To which Marilyn replies: "fuck you." Awesome.

6. Sharon Olds, "The Death of Marilyn Monroe"
Sharon Olds' poem, "The Death of Marilyn Monroe," which tells of the ambulance men who removed her body from her home that final time, is plainspoken, but I've found in reading it over and over that it has some of its subject's mystery. The cult of Marilyn is a death cult, as Olds poem states clearly; for some terrible reason, we want the life snuffed out of her. And then there is its depiction of the way she affected people. The last lines, "listening to a woman breathing, just an ordinary woman breathing," are heartrending, and seem to say that Marilyn's performance of lightness, gorgeous and heroic as it was, was too heavy to bear. Not just for her, but for everybody.

Anna Godbersen is the author of The Blonde (Weinstein Books, $26.00).

Eating Wild

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A Review of EATING WILDLY: Foraging for Life, Love and the Perfect Meal by Ava Chin, Simon & Schuster

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I have only one reservation (not at a restaurant!) about this utterly absorbing, charming and instructive book -- and that is its title, Eating Wildly. "Wildly" is an adverb (alas) meaning this title could mean "pigging out," which it clearly does not. This book addresses the undiscovered alternatives to eating mindlessly in our fad-driven culinary and dietary culture. It is about seeking out food (foraging for edible wild plants and fungi, berries and seeds in urban areas) as well as eating with discrimination and awareness. (Eating without discrimination could lead to a brush with poison, so foraging has to be carefully taught.)

This book, by former New York Times "Urban Forager" columnist Ava Chin is a tonic riposte to the tiresome, self-promoting public relations "puff" of celebrity chefs, critics and fetish-foodies. A combination of Gibbons' Stalking the Wild Asparagus and a nonfiction memoir-ish version of Nora Ephron's Heartburn (life lessons with recipes included), it unfolds in a plucky, self-assured prose style, offering a step-by-step guide to potential urban foraging sites, along off familiar paths in public parks, backyards, between buildings. Where wild yellow morels, field garlic, wood sorel micro greens, blackberries and mulberries proliferate (even in the shadow of skyscrapers and housing project towers) -- Ava Chin demonstrates how to gather in the often-ignored "plenty" of the earth.

She also gathers her readers into a reduced-stock version of her life story: daughter of a single mother in New York City, obsessed with her absent father (raised, in part, by her maternal grandparents, who are lovingly depicted here), smart and independent, a successful undergraduate and doctoral student in creative writing and literature, she becomes a natural seeker (forager) for the perfect meal -- and the perfection of wild and unpredictable romantic love. Readers identify with her indefatigable quality from the first chapter, along with her healthy reverence for what this, our earth, provides.

"I closed my eyes, thankful for what was there beneath our feet. I thanked the earth for producing tiny tart plants, thriving weeds, and woody medicinal mushrooms that steadfastly grew around pokey blades of grass. When my grandfather was alive he had taught me how to eat -- dong gu, winter melon, po nay, dong quai. This was good for digestion, that was good for after giving birth. It was information to last an entire lifetime."

This book is divided into sections named for seasons, as Ava Chin adjusts her narrative to the turning of the earth. Her beloved grandparents pass away, she reconciles with her mother (and tries to reconcile with her father) -- she extends herself, like a plant, tropically, toward light, toward a lasting relationship. Miraculously, (as in the small miracles of earth) she is rewarded in her search.

This is the kind of book I love: a "living" book -- a book (like a primer, cookbook, book of hours or a field guide) which teaches something (a craft, a discipline) along with its poetic beauties.

And the lucky (attentive) reader can learn how to make "Wild Morel Linguini" -- an extra bonus for paying attention!

'Costumes of Downton Abbey' Is the Exhibition Every Aspiring Lord and Lady Grantham Needs to See

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I remember the first time I caught a glimpse of Downton Abbey. My mom was watching Sunday night Masterpiece on PBS, as is her wont, and, in passing, the show looked like any other British period piece, with the added bonus of delightful Maggie Smith zingers.

"Nothing to see here... moving along," I thought. Oh, how wrong I was. Instead, Mom was ahead of the trend and left her daughter to catch up along with the rest of America when "Downton" took the nation by storm later that season.

So it was only fitting that when "Costumes of Downton Abbey" downton abbey costumes winterthuropened at Winterthur Museum in Delaware, I took my mom to the show for Mother's Day. The exhibition, on display until January 4, gives fans (and non-fans who enjoy American or British history and magnificent clothing) an in-person look at the drama's most daring and divine designs.

The burgundy gown worn by Lady Mary on the snowy night Matthew proposed. Lady Edith's ill-fated wedding dress. Lady Sybil's shocking harem pants.

Can you immediately picture those outfits? Do you watch Downton Abbey and drool over the fabulous frocks? Was your couples costume this Halloween Anna and Mr. Bates?
mary matthew costumes
Then this is for you.

Approximately 35 outfits from the British import are on display at the mansion-turned-museum, along with backstory on the designs and details (you can get close enough to see the frayed ends on one gown; another vintage piece ripped during wearing and had to be carefully mended with matching fabric).

Lest you think the lords and ladies upstairs get all of the attention, the first costumes visitors see upon entering the gallery belong to below-stairs residents: Mrs. Hughes' heavily-textured black dress, Anna's apron and simple work dress and Thomas' livery. (Oh, Thomas...)

The fictional story of Downton Abbey and the costumes worn by the actors who play the Grantham family and staff are juxtaposed with the actual history of Winterthur (pronounced "winter-tour"), home to the wealthy du Pont family in the late 18th-early 19th centuries.

At its height, Winterthur was an American Downton Abbey (which itself is actually Highclere Castle), with a bevy of servants prepared for anything from weekend hunting parties to daily afternoon tea.downton abbey costumes winterthur

If that doesn't sound so different from what you've seen on shows like Downton Abbey and "Upstairs, Downstairs," and movies like "Gosford Park," there's a reason: wealthy Americans often tried to imitate the British aristocracy, and vice versa. "The British liked American films, jazz and heiresses. Americans liked British accents, gin and tailoring," one placard in the museum reads.

One advancement the Americans made before the British was an early acceptance of technological advancements: Winterthur got electricity in 1891, while we all remember the Dowager Countess' aversion to all things electric and her classic zinger, "I couldn't have electricity in the house, I wouldn't sleep a wink. All those vapors floating about."

(Speaking of the Dowager Countess, the exhibition's gift shop includes tote bags and t-shirts with perhaps her most famous quip, "What is a weekend?" Bring your credit card.)

Tickets to "Costumes of Downton Abbey" are distributed on a timed schedule. There are also 60 acres of gardens to explore, as well as other exhibitions within the museum and tours of the 175-room house.

Oh, and Mom? You were right. Downton Abbey is amazing. I should never have doubted you.

This post first appeared on erinruberry.com

'Women's Fiction?' 'Men's Fiction?' 'Human Fiction?' What Does It Mean?

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"How good does a female athlete have to be before we just call her an athlete?" --Author Unknown

When did women's fiction come to be? In 1956, the New York Times reviewed Peyton Place. It was called lurid, and expose, and earthy." Grace Metalious is compared with Sherwood Anderson, Edmund Wilson, John O'Hara and Sinclair Lewis. I strongly suspect that today (in our more feminist times?) she would be classified as a writer of 'women's fiction'.

I've hit the topic of the caste system of novels before, from commercial versus literary fiction writer wars, to racial reading divides, to micro-indignities. Even name-calling. I thought perhaps I'd give it a rest this year, but alas my (women's? human?) hackles have once again been raised.

A dear friend, whose soon-to-release book (okay, you pulled it out of me, it's Robin Black and the book is Life Drawing) deserves everything from the NYT bestseller list to a National Book Award, has received excellent early reviews. (Life Drawing "might be the nearest thing to a perfect novel that I have ever read." -- The Bookseller, UK.) It's a great book. (I was lucky and received an early copy.) I absolutely raced through it. And, I have observed, more than one glowing review has finished by saying that both "women's fiction fans" and "readers of literary fiction" will enjoy it.

What does this mean? I'm compelled to parse that sentence; omnivorous review reader that I am, I've yet to see an analysis of a male-written book which states: Both men's fiction readers and readers of literary fiction will enjoy this book.

Why? Because there is no genre referenced in reviews as "men's fiction." Googling it, I couldn't find much beyond Esquire's self-proclaimed short stories labeled "fiction for men."

In "Dummies.com" the categories listed are commercial, mainstream, literary, mystery, romance, historical, suspense, thriller, horror, young adult. And there is an entirely separate description of women's fiction:

It's common knowledge in the publishing industry that women constitute the biggest book-buying segment. So, it's certainly no accident that most mainstream as well as genre fiction is popular among women. For that reason, publishers and booksellers have identified a category within the mainstream that they classify as Women's Fiction. And its no surprise that virtually all the selections of Oprah's Book Club are in this genre.

From a writer's perspective, some key characteristics of these books include a focus on relationships, one or more strong female protagonists, women triumphing over unbearable circumstances, and the experiences of women unified in some way. The field includes such diverse writers as Barbara Taylor Bradford, Anne Rivers Siddons, Alice McDermott, Judith Krantz, Anne Tyler, Rebecca Wells, and Alice Hoffman.


One can only assume, seeing the above choices representing 'women's fiction' that what one needs to write 'women's fiction' is simply a uterus.

Jests aside, this category seems suddenly entrenched in literary culture. If you want to publish on Amazon, you must pick a category from a list of wide ranging possibilities that include 10 sub-genres of women's fiction and, zero that are labeled men's fiction.

The message is clear. Men are the norm. Women are a sub-category.

If we go to Wikipedia, we get this: Women's fiction is an umbrella term for women centered books that focus on women's life experience that are marketed to female readers, and includes many mainstream novels. It is distinct from women's writing, which refers to literature written by (rather than promoted to) women. There exists no comparable label in English for works of fiction that are marketed to males.

Agentquery.com describes it thusly:

Women's fiction is just that: fiction about women's issues for a female readership. However, it is not the same as chick lit or romance. While utilizing literary prose, women's fiction is very commercial in its appeal. Its characters are often women attempting to overcome both personal and external adversity.

Although women's fiction often incorporates grave situations such as abuse, poverty, divorce, familial breakdown, and other social struggles, it can also explore positive aspects within women's lives.


Okay, now I'm really getting confused. If I'm not mistaken, are there not many books written by men and marketed to all genders that include abuse, poverty, divorce, familial breakdown, and other social struggles? Philip Roth, John Updike, Jonathan Tropper, Jonathan Franzen, Jeffrey Eugenides, Pat Conroy, and Wally Lamb -- to name a few.

The prejudice is clear, but there is also a practical problem here. If 'women' fiction' is a marketing device, it's confusing as thus. Label a novel 'women's fiction' is the message 'not for men'? By carving and dicing books into thin-as-lox slices, women writers lose readership. With 'women's fiction' are half the potential readers in the world blocked off before the books hit the shelves?

As a teenager, when I read my first 'adult' books, I chose, Exodus, Marjorie Morningstar, Jubilee, Peyton Place, Crime & Punishment, Martha Quest. These are the books that marked me. But might I have eschewed them had they been labeled war book, women's fiction, black fiction, and literary fiction? I was perfectly happy knowing they fit into one of two categories: Novels and Classics. Classics meant the teacher assigned them, and novels meant... fiction. I could judge for myself after that.

My own novels have been labeled: women's fiction, mainstream novel, literary fiction, commercial, upmarket -- almost everything except horror and spy. But, as the nation of readership becomes more acclimated to categorization, more men have written me to say, I picked up your book from my wife's side of the bed and was surprised how much I loved it.

One man (who'd taken a writing seminar I taught) wrote the following: I bought "The Murderer's Daughters" for my wife, to be supportive of you -- since I loved your workshop. A few weeks later, I took my wife to the dentist and forgot my book. She had brought yours with her, so while she was in the chair (since I had nothing else) I picked it up. Wow. It's great!

So maybe we can start a new category? Dentist office books?

This is not a small issue, even if we place it under 'micro-indignity.' Last year, Amanda Filipacchi wrote in a New York Times Op-Ed, Wikipedia's Sexism Toward Female Novelists:

. . . editors have begun the process of moving women, one by one, alphabetically, from the "American Novelists" category to the "American Women Novelists" subcategory. So far, female authors whose last names begin with A or B have been most affected, although many others have, too.

The intention appears to be to create a list of "American Novelists" on Wikipedia that is made up almost entirely of men. The category lists 3,837 authors, and the first few hundred of them are mainly men. The explanation at the top of the page is that the list of "American Novelists" is too long, and therefore the novelists have to be put in subcategories whenever possible.

Too bad there isn't a subcategory for "American Men Novelists."


Or too bad there are any sub-categories at all.

Just today, I read a piece on Galley Cat, "You Are What You Read: Infographic." The lack of women writers was astounding. And this is why we need to keep on this topic. Because these lists become embedded in us, and the cycle of diminishing women's work continues.

We don't need firemen and firewomen -- they're all fire fighters. And all those writers we love? We don't need to call the writer-men and writer-women. We can call them writers.

And we can call the novels they write, just that. Novels.

I'm so disturbed when my women students behave as though they can only read women, or black students behave as though they can only read blacks, or white students behave as though they can only identify with a white writer. -- bell hooks

Lisi Raskin's Mutual Immanence

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Mutual Immanence, a show of paintings by Lisi Raskin at Churner and Churner gallery, are works that bare a subtle vibrance and power piece by piece. The informal vibrant play of color and shape give way to a balance which strikes in simplicity and then drops into deeper content.

Each work consists of shapes bound together with corresponding edges that almost fit together jigsaw puzzle like and then point out toward a larger puzzle to which each is a part. The search for an origin seems futile one moment and then hopeful at the next. The paradox is held in balance by nails, glue and wood.


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Lisi Raskin, Diamonds and Nails, 2013
acrylic paint, nails, and wood
52 1/2 x 34 inches
Courtesy of Churner and Churner


Raskin has a simultaneous show up at Art in General, a nonprofit organization in Tribeca titled Recuperative Tactics. The works in this venue open up into more experimental, performative and connective dialogues which champion shared resources, space and time. Although the exhibit was intended to be a solo exhibition for Raskin, the artist decided to open the platform to a group show, you know it when you feel it, curated by artist Kim Charles Kay, with whom Raskin has collaborated on many projects on significant levels, and here in the same space-time continuum.

Having heard the voice of the artist at Art in General through a barrage of real plastic trees, I peeked in to find she was in the middle of getting a summer haircut by stylist and artist Brittany Mroczek, (who also has work in the show curated by Kay), and I learned some things. I discovered that getting a haircut was not a perk limited to the artist -- but I or anyone for that matter could also make an appointment with Mroczech for any remaining Thursday Afternoon till May 31st.

The largest part of the Raskin's installation at Art in General, Blind Contour (Pink Screen) certainly informs the paintings at Churner and Churner. This large light filled work looks like a mother to the works in Mutual Immanence, and certainly is related on many levels. In all actuality if she could be named, it might be closer to a daughter, as she could be considered a new beginning, having been constructed by mostly new material. By contrast, every one of the works in Mutual Immanence are made from the materials of Raskin's past installations. The two that figure in most prominently are Jack Shack, 2006 at MoMA PS1 and Command and Control, commissioned by ADAA and CCS Bard for the Park Avenue Armory in 2008. The recycled remnants gain new life and meaning in their new shape and context, and seemingly float effortlessly into place.


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Lisi Raskin,Blind Contour (Pink Screen) as part of Recuperative Tactics, Art in General, 2014. Acrylic paint on panel, 16' h x 35' w. Photo: Stephen Probert


Raskin's work values people at the heart and people first. It is important to note that materials used in her work capture the energy of all those involved. We are reminded that a work of art is never just one thing, there are thousands of forces that go into making it, and with, especially within a gallery or institution, the many people that are involved that make up that space, their families and loved ones and all those seen and unseen forces that influence thoughts and actions.


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Lisi Raskin,Untitled (for DN 5), 2014
acrylic paint on wood
1 3/4 x 1 1/8 inches
Courtesy of Churner and Churner

Mutual Immanence is up at Churner and Churner till until May 31st. For more information please visit: http://churnerandchurner.com

Recuperative Tactics is up at Art in General until May 31st, 2014. For more information please visit: http://artingeneral.org


Lisi Raskin lives and works in Brooklyn. http://www.lisiraskin.com


Liz Insogna is a painter in Brooklyn. http://lizinsogna.com/home.html

PEN Ten with Molly Crabapple

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The PEN Ten is PEN America's biweekly interview series curated by Lauren Cerand. This week, Lauren talks to Molly Crabapple, whose 2013 solo exhibition, Shell Game, led to her being called "Occupy's greatest artist" by Rolling Stone. Her illustrated memoir, Drawing Blood will be published by Harper Collins in 2015.

As Artist in Residence at the 2011 PEN World Voices Festival, Crabapple created a series of five paintings, each improvised on themes of war, labor and censorship. Those painting are now on auction, with the proceeds going to support PEN American Center's vital work to defend free expression. You can find more information here. The auction closes on Wednesday, May 15.



When did being a writer begin to inform your sense of identity?

I always wanted to be a writer and in fact wrote a horrific embarrassment of a novel when I was 17 (thank you, Internet, for not preserving this). I really got into the swing of writing professionally when VICE gave me a column in later 2012 to talk about anything, from abortion to courtrooms to being a naked model. After years of being an artist alon and communicating through images, saying stuff got frankly addictive.

Whose work would you like to steal without attribution or consequences?

I'd know, so I wouldn't.

Where is your favorite place to write? To make art? Are they different places? If so, is there a reason?

Writing in a hotel room with a bottle of scotch and a bottle of Black Blood of the Earth to drug myself up and down, because writing is sensory depravation. For art, in my studio, up till 4 a.m. with Fred and too many cups of coffee, when it just starts feeling right.

Have you ever been arrested? Care to discuss?

I got arrested once at Occupy Wall Street, which was an education for me, but not particularly terrible as arrests go, and certainly a million times easier than the daily reality of many New Yorkers who are being arrested for walking while black.

Obsessions are influences -- what are yours?

Showgirls, journalists, sex workers, uppers, nightclubs, guttersnipes in palaces.

What's the most daring thing you've ever put into words? Into an image?

I don't live in a context where to make art is that daring. I'm not Ai Weiwei or Laura Poitras. I was scared to write about my own abortion, a fear that turned out not to be justified, and I was scared to write about Guantanamo because it felt too big and grave.

What is the responsibility of the writer? The artist? Is it the same?

Be honest and brave and try to make the world a bit more beautiful, which is in no way the same as making it more pretty (though that is also nice). But these are really human responsibilities.

While the notion of the public intellectual has fallen out of fashion, do you believe writers have a collective purpose? How about artists? Is it a shared purpose?

Artists in general are fabergé egg makers pretending to be revolutionaries. But I'm congenitally opposed to authority deployed unjustly and I'd yell about that whether I was a writer or artist or anything else.

What book would you send to the leader of a government that imprisons writers? What work of art would you like to show them?

Books don't make people moral. If they did, Obama wouldn't incinerate kids with drones. Instead, how about sending a book to an imprisoned writer or artist? You can mail imprisoned journalist Barrett Brown at:

Barrett Brown #45047-177
Federal Correctional Institution Seagoville
P.O. Box 9000
Seagoville, TX 75159-9000

Where is the line between observation and surveillance?

Power.


Click here to visit Crabapple's benefit auction for PEN American Center.

Artists Must Make Peace With the Academic Life

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It is said that when the Italian Renaissance artist Verrocchio saw the work of his student, Leonardo da Vinci, he decided to quit painting since he knew that his work had certainly been surpassed. The story is apocryphal -- it is also told of Ghirlandaio when he first saw the work of Michelangelo, of Pablo Picasso's father and of a few other pairings of artists -- but the idea of a teacher selflessly stepping aside for the superior work of a pupil makes one's jaw drop.

More likely, many artists who teach today would tend to agree with Henri Matisse who complained during his teaching years (1907-09):

"When I had 60 students there were one or two that one could push and hold out hope for. From Monday to Saturday I would set about trying to change these lambs into lions. The following Monday one had to begin all over again, which meant I had to put a lot of energy into it. So I asked myself: Should I be a teacher or a painter? And I closed the studio."


Most artists fall somewhere between Verrocchio and Matisse, continuing to both teach and create art but finding that doing both is exhausting. Giving up sleep is one solution.

"My schedule was very tight," said painter Will Barnet, who taught at the Art Students League and Cooper Union in New York City for 45 years and 33 years, respectively, as well as over 20 years at the Pennsylvania Academy of Fine Arts in Philadelphia. "It was tough to find time to do my own work, but I could get along on very little sleep and was able to work day and night on weekends. Also, I never took a vacation."

Many, if not most, of the world's greatest artists have also been teachers. However, between the years that Verrocchio and Matisse were both working and teaching, the concept of what a teaching artist is and does changed radically. Verrocchio was a highly touted fifteenth century painter and sculptor, backed up with commissions, who needed "pupils" to be trained in order to help him complete his work. Lorenzo di Credi, Perugino and Leonardo all worked directly on his paintings as the final lessons of their education. It would never have occurred to Matisse to let his students touch his canvases. In the more modern style, Matisse taught basic figure drawing rather than how to work in the same style as himself.

Teaching now obliges an artist to instruct others in techniques and styles that, at times, may be wholly opposed to his or her own work. Even when the teaching and creating are related in method and style, instruction requires that activity be labeled with words, whereas the artist tries to work outside of fixed descriptions -- that's the difference between teaching, which is an externalized activity, and creating, which is inherently private and personal. Additionally, teaching is inherently an analytical activity - taking something apart to show the various strands of thought and technique and how it all works -- whereas creating is a synthetic process, pulling a number of different ideas together. Bringing things together after one has been tearing them apart all day is perhaps the largest challenge for the teaching artist. It may be that the current freighting of contemporary (meaning, progressive) art with vast amounts of theory represent the academic artist's effort to combine the two aspects of his or her working life.

Teaching, which has long been held out as the most sympathetic "second career" for artists who need a way to support their principal interests, may work insidiously at times to destroy or undermine an artist's vocation. "The experience of teaching can be very detrimental to some artists," said Leonard Baskin, the sculptor and graphic artist who taught at Smith College in Massachusetts between 1953 and 1974. "The overwhelming phenomenon is that these people quit being artists and only teach, but that's the overwhelming phenomenon anyway. Most artists quit sooner or later for something else. You have to make peace with being an artist in a larger society."

Artists make peace with teaching in a variety of ways. Baskin noted that teaching had no real negative effect on his art -- it "didn't impinge on my work. It didn't affect it or relate to it. It merely existed coincidentally" -- and did provide a few positive benefits. "You have to rearticulate what you've long taken for granted," he said, "and you stay young being around people who are always questioning things."

Can the Arts Save Detroit?

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After graduating from the University of Michigan, I became a graphic artist in D.C. Twenty years later, I was involved with the labor movement. At the time, I didn't think that there was a connection between the two, but now I'm quite sure that there is.

Today, I see notable parallels between unions and the arts in cities like Detroit, and opportunities for members of different professional fields to learn from the successes of each other. As an artist-turned-worker-activist (and the President of Union Plus), I'm here to suggest the following: from graffiti to Facebook, the answer to better organization, better art, and stronger communities may be written on the walls.

Engaging in Partnerships: Jobs and The Arts

As a part of their strategy to attract new members, the American Federation of Musicians created a series of "community orchestras" wherein artists/members could receive credit for their pension plan. They've also launched a Music Performance Trust Fund series that goes into Detroit public schools, partnering with music foundations.

Some key community leaders felt as though an alliance between the arts and apprenticeship through the Works Progress Organization would incentivize participation in the arts while safeguarding artists' financial stability. Historically, the WPA as part of the New Deal has funded public art projects that have put, not only artists, but tradesman to work as well. Unions, with their aptitude for organization, are perhaps better poised than any other group to set up community outposts like these, and bring in artists in need of an affordable place to create.

The arts community has always organized to work towards a brighter future for its participants. Artists with an interest in the organized labor aspect of their profession have chosen to serve as loudspeakers for the arts, making political statements on public walls, and even more subtly, by the achievement of good wages and benefits for artist unions such as SAG-AFTRA, AFM, IATSE and the Writers Guild. As John George of Motor City Blight Busters says, "Detroit is an open canvas."

There are 633,000 union workers in Michigan, but unfortunately, not all of them employed. Perhaps more stunning is the fact that there exists a sector that is oftentimes ignored: the arts community.

Unions have historically run great apprenticeships -- from carpentry and electricity to painting and glazing. Union building trades members could begin to work with artist communities or housing organizations, like Habitat for Humanity.

For the past 10 years, Union Plus has done just that.

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Members of Union Plus volunteering with Habitat for Humanity.


Get Social: Embracing the Online Community


Gone are many of the union halls of yesterday -- people just don't have the time to congregate in person anymore. However, there are still a number of great ways to foster community engagement amongst unions, although the "community" looks and feels a good bit different than what we're used to.

Today, many local unions do much of their union building online. Linked-in local unions provide anything from online bulletin boards to showcase job openings to online training programs -- online platforms have provided the interactive, real-time functionalities necessary for organizing in the online space.

The real trick will be introducing unions to other like-minded groups in order to meet similar goals. There are a large number of pre-existing alliances covering topics such as: income inequality, tax fairness and raising the minimum wage. Providing these alliances with online, public forums would provide a simpler way to meet the similar needs of diverse groups.

Some groups have already started making progress in the online space. We can look to sites like: http://detroit.iamyoungamerica.com, which requires members to pay a small fee in order to access to grants, co-working spaces, and marketing support. The site describes itself as "more than a blog." In fact, they prefer to see themselves as "a movement."

How does the new face of worker representation, including organizations like Working America Detroit (http://www.metrodaflcio.org/working-america), create synergies with other digital innovators?

Get Outside: Making it Public

Detroit boasts a robust and raw energy of community artists. From the various artists involved in the creation of the Heidelberg Housing Project, to Gilda Snowden, Vito Valdez, Hugo Navarro, George N'namdi, Jacob Martinez and Antonio "Shades" Agee, Detroit certainly has its fair share of talented artists.

Knowing this, it seems only natural to look deeper into Detroit's budding artistic scene to find new ways to connect to the community. I see potential in a number of opportunities, including the possibility of creating a partnership between the union building trades community and local graffiti artists. With more than 35,000 union building trades craftsmen in Detroit, it's stunning just to imagine what their union skills could offer when introduced to Detroit artistic "mojo." A powerhouse combination like this could finally marry construction and organization know-how and artistic vision in the public eye.

Detroit is often referred to as one of the "art cities of the future." We are certain that unions can help to foster that growth.

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Collaboration of Vito Valdez and other graffiti artists for the new Detroit Eastern Market.

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Antonio "Shades" Agee in front of his mural.

Unions and Arts Together: Driving the Economy in Motor City

Solidarity has always been a rallying cry for union workers, but it's also a common denominator of the "have nots, which Detroit has a lot of. Fortunately, community members representing the arts and labor unions have proven to be good for the local economies in numerous instances, and can foster growth again in Motor City through the arts. In a city like Detroit that is struggling financially, a summoning of these positive resources could be a game changer.

There is no shortage of information supporting our position on this topic. We know the following things to be true:

• Cultural institutions like the Detroit Institute of Arts, bring in $10 million a year in tourist dollars

• Citizens have banded together to summon change in Detroit - organizations like Write a House (home rehabilitation working with Young Detroit Builders), and the Detroit 15 (working with fast food workers) have been born to make a difference in the Detroit community

• Unions provide jobs, as well as local economic benefits and stimulation

Back to the Future

Creating change is something that both labor unions and artists have always revered. For the first time in Detroit, we need, share ideas and creating new alliances. The possibilities are truly endless -- what if the teacher's union partnered with art galleries like 555, and introduced art classes? What if the Scarab Club introduced a Musicians Night co-sponsored by the musicians union, AFM?

There is a major opportunity to revive Detroit through the appreciation of the arts that it already possesses. The power to do so, I believe, rests within young workers. If these young workers, artists, and unions came together in the Motor City, the community could potentially revive its own engine.

State of the Art: The Kindness of Strangers

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The road to State of the Art has been a long one, both literally and figuratively. Literally, Crystal Bridges President Don Bacigalupi and Curator for Special Projects Chad Alligood logged more than 100,000 miles criss-crossing the country to meet with nearly 1,000 artists. Figuratively, the exhibition began more than a year ago with a Big Idea and a list. The creation of that list is a story in and of it itself, sketched here by Crystal Bridges copy editor Linda DeBerry.


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"In talking about State of the Art, we've often mentioned how we started out with a list of some 10,000 artists' names," said Don Bacigalupi. "An untold part of the journey is how we developed that list. And really it's a remarkable story that speaks to the vitality of a nation-wide network of arts professionals, and to the very real sense of a need for this sort of national undertaking."

Ten thousand artists is a lot of people. Even with a small army of research assistants, it would have taken years for a two-man team to produce a list of that magnitude. But the idea of State of the Art is based on immediacy: works produced within the past three years or so. They needed a list of artists working out there now. They began by reaching out to the professionals who are in the know in every region.

"I started with people I knew in Texas and Ohio, because that's where I had spent the majority of my career," Bacigalupi said. "I honestly didn't know what to expect. Here I was calling people up and asking them to hand over the names of all the up-and-coming artists in their region. I didn't know if they might feel territorial about these artists. What I found really amazed me. Not only did our colleagues willingly provide us with the names of artists in their area -- with very few exceptions, they overwhelmingly offered additional names of art contacts in their region. It was mindboggling the level of enthusiasm and generosity."

In a very short time, the list had grown exponentially. When all was said and done, Bacigalupi had corresponded with some 800 arts professionals across the country, many of whom he had never met and had no previous connection with. Time and again the reaction was the same: "They were not only helpful, they were appreciative," he said. "They were enthusiastic about the project, and they wanted to help. I was absolutely bowled over by the positive response."

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Across the country, curators, gallerists and scholars helped to spread the word. "Have you talked to so-and-so?" they would ask, and the recommendations poured in. Bacigalupi and Alligood found themselves answering a barrage of curious questions: How are you defining "emerging artists?" Are there age limits?

Each time they answered such questions it helped further refine the parameters for the search. "Emerging artists," for the purposes of this exhibition, included those who may have a regional following but have not yet been nationally recognized. The age question came up time and again, but because of their broad definition of "emerging," no limits were set. All ages were considered (the oldest artist the team visited was about 90).

"One thing we've discovered is that art careers can happen in interesting places," Bacigalupi explained. "Sometimes the art community is associated with a college or university; in other places there might be a civic art commission that recognizes and supports artists. Sometimes the artists themselves come together to run cooperative studio or gallery spaces that help to support the community and serve as a magnet for other artists. Across the country, however, art flourishes wherever it is supported, whether that support be public, private or communal."

Crystal Bridges Museum of American Art is located in Bentonville, Arkansas. The exhibition State of the Art: Discovering American Art Now will be on view in the museum September 13, 2014 through January 19, 2015.

Leslie's Lesson in Laughing

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(Photo Credit: Joseph Moran)


Just type "Leslie Uggams" into YouTube and it auto-fills with an infamous moment in her career, singing, "June Is Bustin' Out All Over" on Washington, D.C.'s Capitol Lawn. One of Rodgers and Hammerstein's best-known tunes from Carousel, it wasn't known to Uggams that day, who forgot the words but continued like a trooper - swapping the lyrics for something that more resembled the goo-goo gaga of baby talk.

Leslie Uggams Sings "June Is Bustin' Out All Over":
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https://www.youtube.com/watch?v=Mrma76T5Wa4


A legendary signer and actress, known for her roles on TV (Roots, The Leslie Uggams Show) and Broadway (Hallelujah, Baby!, Jerry's Girl's, Anything Goes), that moment is not one most performers would want remembered, and certainly not immortalized on the internet.

But Uggams reminds us that life isn't always perfect, and we can't stress out about it. Instead we just need to laugh.

Preparing for her latest venture, a new cabaret show designed specifically for New York City's "54 Below" (June 6-7), Uggams brought the incident up in an interview and admitted, with a hearty chuckle, "It was just one of those situations where whatever came out of my mouth, came out of my mouth."

Instead of trying to forget it and shift focus to her success, she's given it a prominent place in her show, alongside the peaks, "fun experiences and classy people" she's worked with, "like The Beatles and Frank Sinatra".

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Leslie Uggams and Frank Sinatra Performing Together


In fact, she admits it opened up a whole new world to her [of viral videos] and appreciates that it has become somewhat of an anthem, each passing June.

Uggams says that experience simply reminded her that "the show must go on," "Which in a way is great. It's more human. Not everything is perfection all the time. In fact, sometimes the things that are not perfection are more interesting."

Great advice, Ms. Uggams.

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Leslie Uggams following an interview with the author, Steve Schonberg

Jeffrey Biegel Is Rainbow High on New CD: Life According To Chopin: Chopin's Greatest Piano Solos

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Pianist Jeffrey Biegel's latest CD, Life According To Chopin: Chopin's Greatest Piano Solos may be the first tell-all among a colossal number of recordings dedicated to the work of Frédéric Chopin. The eleven tracks represent an overview of the musical forms that shaped him as a composer and pushed him into celebrity status as a concert artist. The CD is a biographical recital of sorts, but one poised for the section marked: The only Chopin you will ever need.

On the same shelf will be found Artur Rubinstein's ever-marketable album from 1971, The Chopin I Love and Van Cliburn's mega-hit from 1962, My Favorite Chopin. And perhaps in a glass case, a true blockbuster -- José Iturbi's Music to Remember. During our recent interview, Jeffrey described a controlling force in Chopin's writing and how it informs tradition and performance.

"If you told me in the 1970s," said Jeffrey,

When I was studying Bach, Mozart and Chopin -- that I'd make recordings of their music, I would have replied, 'No way!' Why? Because there are so many recordings already. Why would anyone need another? But as the decades moved on, there have been so many schools of thought about how to play their music. And many years have passed since the great recordings were released. So, I took the hat off of all my different influences - the various recordings, the master classes, my own teachers, and the many different editions of the music. What should I follow? Which one is right?


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Courtesy of GPR Records



After a while, teaching my own students helped me to evolve into not putting my hat on, but the composer's. 'OK, what do you want me to do?' After years of studying Bach, Mozart and Chopin, the commonality on the piano is the ability to create a singing sound and a vocal line. Period. If I cannot sing the line and play it at the same time, then I'm doing something wrong. We don't like to say there is a right and wrong way in playing. But the older I get, the more I realize -- yes, there is! There is a right and wrong. Because if you are able to sing a musical phrase, even with the worst imaginable voice -- you should be able to sing the phrase with the amount of air God gave you to breathe. If you're singing it too slowly, you will have to grab a breath. If you get to the end of the phrase with air to spare -- that's wrong, too. The voice is the most natural instrument whether it sounds good or not.


My sheet music and record library includes a number of arrangements of popular songs based on themes by Chopin. As a kid, I knew three of these tunes before hearing the original source material played on a grand piano -- and not in a concert hall, but from a slew of vintage films playing on TV. One perennial favorite, "I'm Always Chasing Rainbows" (1917) comes from the "Fantasie Impromptu no. 4 in c-sharp minor" (Track 10 on Jeffrey's CD). No less than 55 renditions of this song can be located on the internet. Operatic soprano Sumi Jo recorded portions of it for the recent HBO miniseries, Mildred Pierce. Lip-synched by Evan Rachel Wood as Veda -- the ultimately evil daughter and twisted superstar coloratura -- the song was used as the encore for her concert debut with the New York Philharmonic. At the end of the film, young Judy Garland's 1941 recording with orchestra leader (and first husband) David Rose is playing in the background as the screen credits roll up. Garland's phrasing and breath control amounts to total perfection. Turns out, Chopin is every singer's new best friend.

"The first Chopin recording I got that really turned me on," said Jeffrey,

...was José Iturbi's Music To Remember. My parents belonged to those record-of-the-month clubs and would order the Rubinstein recordings. Or we'd go to Sam Goody and Record World and buy the LPs. And then came my lessons with Adele Marcus on Chopin. When she would play Chopin's music -- she had the most glorious, the most beautiful singing sound of anybody I ever heard. More than Horowitz and Rubinstein. Even Horowitz told her that. 'How do you get that sound? Tell me what you do.' I always aspired to achieve that level of singing sound. But it's more than that. How do you make it sound like it breathes naturally, like the human voice? That really came from singing out loud, quite a lot, while studying and practicing. I still do it. It's now become something I don't even realize I'm doing.


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JEFFREY BIEGEL. Photo, courtesy of the artist


I also apply the tactic of playing in the air. This is something I've taught myself to do, now I'm teaching my students to do it. Without the instrument, you don't have a point of direct contact - you have air. You don't realize how heavy air is until you start trying to play that piece in the air. When I'm teaching a master class, I will say, 'OK, now just play it in the air. Now do that on the piano.' Already the sound is better, the phrasing is better. The movement of the line is better. Then I'll say to sing it while they are playing it. It sounds like a different piece of music. Everybody is different in how they breathe and how they play and how they sing or feel a phrase. It all comes from feeling. It's feeling-and brain-to the fingertips. Then what comes out, comes out. You have to be consciously aware of what you are doing.


Life According To Chopin was recorded at Patrych Sound Studios, a sound-proof apartment located in the Bronx. Jeffrey used a nine-foot Hamburg Steinway B. He described the acoustic of the room as "dry." As a singer accustomed to the loftiness and reverberation time of a cathedral, the term dry means your voice seems to be traveling no further than the tip of your nose. In order to compensate, the first reaction is to sing louder -- a really bad idea. How does a dry acoustic influence the pianist?

It makes you bring out the best of the instrument without letting the acoustic around you do it. It does make you use the instrument to its greatest advantage. I love to record at this studio because the sound is warm and beautiful. The acoustic influences what you will do with the instrument. What you do with the piece will change from piano to piano and from room to room. If I went into a concert hall with another piano, I would do different things. The acoustic of a concert hall takes care of the sound you think you are hearing. But there's also something to be said for the dryer acoustic, because you are hearing exactly what the mic is picking up from the instrument -- without any ambience, which the engineer adds later. So, you are really hearing what you are doing, one hundred percent, without any added acoustical influence.


Similar to Jeffrey Biegel's previous recordings -- including A Grand Romance, A Steinway Christmas Album and Bach On A Steinway -- this sampling of Chopin is distinguished by its atmosphere of intimacy, the sensation of an up close and personal encounter with the artist. Taking it a step further, since I found myself singing along with the most familiar selections -- Life According To Chopin is a virtual rendezvous of the third kind. It's a "Welcome home!" -- a product of wisdom passed down through the generations.

Said Jeffrey,

First to my teacher, Adele Marcus, who studied with Josef Lhévinne and Artur Schnabel, then from her to me. But even though I still wear that hat, I also try to be open minded to wearing what I believe was Chopin's hat, based on the principles of his music -- the bel canto, the singing sound. How to make the piano sing as though it were the human voice. That to me is the essence of his music.

On This Matter of Learning to Write

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An acquaintance of mine once called to ask advice on a memoir he was writing. He told me he wanted to learn to write for better effect. And he told me something that has been bouncing around in my mind ever since. He stated -- emphatically -- that he didn't want to "read any books."

I didn't believe I'd heard him correctly. It went past me the first go-round. I asked what books he enjoyed reading. He said he sometimes read the sports section of his city's newspaper.

"No," I said. "Books. What books do you read?"

"No books. I don't want to read any books."

"I don't want to read any books," was his reply. It was a sentence I muttered to myself throughout the rest of the week. It sounded so ludicrous. I had trouble believing that a man who wanted to learn to write actually said this.

What could I tell him? I told him the truth. I said I'd never met a good writer who didn't read. I said that every good writer -- whether employed in journalism, fiction or poetry --was a passionate and compulsive reader. For a fledgling writer to say he doesn't want to read any books is akin to a student who plans to become a musician, yet doesn't want to hear any music.

Yes, I was shocked. But I soon came to the understanding that his... I guess you'd call it passion, for not reading is the standard in today's dopey world. Though many fine writers go about their business, despite a lack of publishing sales, the successful writers of today -- the writers who ride in limousines -- shed no light on good writing. If you consider The Hunger Games and 50 Shades of Gray, to be of good authorship, that's your business.

The poet Charles Simic recently wrote an essay on the rotting of the American mind in a New York Review of Books essay entitled "Age of Ignorance." In one paragraph, Simic laments his students' inability to think:

Anyone who has taught college over the last forty years, as I have, can tell you how much less students coming out of high school know every year. At first it was shocking, but it no longer surprises any college instructor that the nice and eager young people enrolled in your classes have no ability to grasp most of the material being taught. Teaching American literature, as I have been doing, has become harder and harder in recent years, since the students read little literature before coming to college and often lack the most basic historical information about the period in which the novel or the poem was written, including what important ideas and issues occupied thinking people at the time.


The inability to grasp ideas, as Simic put it, has consequences. Whereas students once studied the Greek classics, Shakespeare and opened their minds to moderns like J.D. Salinger and James Baldwin, they now build their inner worlds around movies like Star Wars and Star Trek. You might call it the "Big Bang Aesthetic," and be right.

Let us address the mission of a writer. For many, the mission is to garner fame and riches. If my aforementioned friend is solely after lucre, he needn't try to write a memoir. He could, perhaps find success as a Hollywood screenwriter, if he learns enough clichés for American screen dialogue.

If a would-be writer is serious about his intention to become a fine writer, he would do well to get his head out of the vampire/zombie dreck that somehow passes for literature and discover the masters.

The first skill is to learn the basics of English grammar, in order to write clearly.

My primer was Strunk and White's Elements of Style. It's a pill of a book at a 105 pages, and the paperback version fits nicely into the back pocket of your Levis. With dictums by Strunk, and short essays by E.B. White, one can negotiate the difficulties in putting words-to-page (or computer screen). Adages like "Keep related words together" and "Put the emphatic words of a sentence at the end" are the keys to solid syntax. The Elements of Style remains the primmest of the primers and an absolute necessity.

If you haven't the habit of reading, don't kid yourself. You must acquire it. If you haven't read Chekov, Melville, Baldwin, Fitzgerald, Cather, Morrison, Dostoyevsky, Steinbeck, Hemingway, Faulkner and the like, you're not just missing out on fine writing, you're cheating yourself out on the stories and wisdom of the authors. These are pleasures.

And, for heaven's sake, attend any play penned by Shakespeare, Chekov, Tennessee Williams, August Wilson, Arthur Miller, and them Greek playwright dudes: Aeschylus, Sophocles, Euripides. Yep. That's the style.

You may well have a book in you. But if you don't know how to write it, good editors will toss your manuscript into the slush pile. As the great short story writer, Raymond Carver, once wrote in an essay to young writers, "All we have are the words. And they'd better be the right ones."

Remember: No vampires. No zombies. Get the words right. Now get busy.

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