Can You Ever Really “Know” Classical Music? (The Virtues Of Ignorance)

“Many people, myself included, have criticised classical concert programming for an over-reliance of a limited pool of familiar music. But would we want a concert series like the ‘antilibrary’, a constant stream of new discoveries and world premieres? You could argue that a narrow repertoire is a sensible response to an overwhelming avalanche of potential scores – that at least it allows audiences to develop a deep relationship with a certain set of pieces.”

How A Great Berlin Theatre Is Stepping Away From Great Theatre

“The stage of spoken-word theatre is indebted to a sense of the world that is centred on the human. On the stage of the 21st century, however, we find a new distribution of power, a new dynamic of creatures, ghosts, machines, objects. The things we once invented to define identities or let them manifest themselves on stage have lost all traction. The [human] subject – is that even a topic anymore these days?”

When ‘Twin Peaks’ Became A Series Of Japanese Coffee Commercials

“For reasons that evaded Japanese film critics at the time, the 1990s TV show about a murder in a small American town was a huge hit in Japan, even after it was cancelled in 1991. … To build on that success – and make some extra cash – co-creator Lynch and some of the core cast reprised their roles in four commercials for Coca-Cola’s Japanese canned coffee brand Georgia Coffee in 1993. … The ads were set in Twin Peaks and told the story of a Japanese man who was searching for his missing wife, with the help of Agent Cooper.” (includes video of all four ads)

African Art Is Being Gentrified

“This is very good news for the African modernists who will benefit from the increased visibility. They were, some say, the postcolonial avant-garde, who set out to create new art for independent Africa during the mid-20th century. African contemporary artists have also moved beyond nationalism and are more likely to sound off about globalization and complex identities. But the continent’s masses will be the biggest losers. They will be denied access to artworks that define the age of independence and symbolize the slow process of postcolonial recovery.”