“New history textbooks from the Afghanistan government leave out some key episodes in the country’s recent history. The BBC’s Bilal Sarwary explains, from Kabul.”
Tag: 08.31.12
John Cage: Composer, Conceptual Artist, Or Charlatan?
Anne Midgette: “In fact, Cage was anything but a clown, though like many profound thinkers who are profoundly misunderstood, he did nothing to counteract people’s misimpressions. … So why was he so important? The short answer is that Cage was in the vanguard of a way of thinking about art that became central to many artists after him, testing its mores and meanings and definitions. Where does the ‘real world’ end and ‘art’ begin; what makes one object ‘art’ and not another; what defines a performance?”
Which Is More True, Science Or Religion?
Easy answer: Fiction.
Study: The ‘Buffy Effect’ Is Real
Women and men both benefit from seeing strong women on TV – even if there’s sexual or other violence toward women in the same show.
The Universal-BMI Deal Heats Up In Europe
“European regulators will vote next week on Universal Music Group’s $1.9 billion bid for EMI’s recorded music arm, which could set the stage for a final EU decision on the deal later in September.”
Damien Hirst: (Inter)National Disgrace
It’s all fun and games until Hirst slams Van Gogh on a beloved UK children’s show.
Fifty Shades Sells 10 Million Books, Rescues Company From Media Slump
When’s the last time you heard this? “The book boom helped Bertelsmann paper over weaknesses in RTL Group, its core television and radio broadcasting business.”
Is The University of Missouri Press Gone Yet?
No. Well, sort of. Maybe. And authors are lawyering up.
Is Comedy Truer To Life Than Tragedy?
Terry Teachout thinks so, and he explains why – with reference to Shakespeare, Neil Simon, Mozart, Sondheim, and chuckling about funerals.
Choreographers Lick Their Chops Over BAM’s New Theater
“Over the past several years choreographers have been rethinking what constitutes a stage. The more options, the better, which is why the new BAM Fisher building at the Brooklyn Academy of Music was designed with a flexible 250-seat theater in which choreographers and others can do whatever they want, however they want.” Four leading dancemakers talk about how they’ll be using the space.