Brooklyn, Writers’ Mecca (Why? How?)

“The phenomenon is now so pronounced that you could say, without exaggeration, that there are two principal avenues for would-be writers in America. The first is to swallow the exorbitant price tag for one of the country’s multiplying creative-writing courses (usually Masters of Fine Arts, or MFAs); the second is to move to Brooklyn.”

George Szell, Who Demanded Merely Perfection From The Cleveland Orchestra

“‘He sat down and played a chord something like this and he said, “How many?”‘ [Szell biographer Michael] Charry says. ‘I said six or seven and he said, “Can you name them?” and I actually did name them. And, passing that, then we went to the rest of the audition. I had the feeling, though, that if my ear hadn’t been good enough, he would have said, “Thank you very much, but you may go.”‘”

Creating Dance That Destroys (And Revives) The Creator

Choreographer Jack Fervor, who found it devastating (and freeing) to revisit his childhood for a new collaboration with a sculptor who had a similarly terrible youth: “After every performance, audience members come up, gay and straight, who say they identify with the isolation and fear that we felt. That’s my intention. I make my work so that people don’t feel as lonely as I have.”

As The Olympics Near, London’s East End Transforms (Somewhat)

London’s East End “is persistently seen as other – as mysterious and threatening, as an orphan child prompting pity, as something unknowable which must therefore be tamed by stereotypes. It has lent itself to exploitation on a large scale, from the high-walled and ferociously defended docks, to Fortress Wapping, as the base of Rupert Murdoch’s News International was once called. Grand gestures are repeatedly imposed from outside, whose aims are at once charitable and controlling.” Will the 2012 Olympics be any different?