Tag Archives: general disgust

World Piano Day: Deutsche Grammophon’s virtual festival

COVID ravages the world. America bails out Boeing, Wall Street, and if all goes to plan, assorted chunks of 45’s cancerous financial empire. Meanwhile, Germany rolls out support to its artists and musicians, a nod to what that nation holds dear and what it finds worth defending.

In honor of a plague-affected World Piano Day, the German record label Deutsche Grammophon virtually brings together a number of celebrated pianists to help us remember that our mostly corrupt, degraded, and base species nevertheless has had moments of glory.

Artists include Maria João Pires 0:00 Víkingur Ólafsson 21:15 Joep Beving 40:38 Rudolf Buchbinder 01:05:39 Seong-Jin Cho 01:25:24 Jan Lisiecki 01:44:02 Kit Armstrong 02:14:19 Simon Ghraichy 02:46:18 Evgeny Kissin 03:17:43 Daniil Trifonov 03:26:00.

Update 3/31/20: Well, so much for DG’s benevolence.  The video has been marked Private.

 

https://www.youtube.com/watch?time_continue=92&v=GDQZiLx6CzE&feature=emb_logo

Market plunges: Winthorpe and Valentine held for questioning

“Be it ever so crumbly, there’s no place like Rome” said Bugs Bunny and was he ever correct.  In the face of a real problem, our farcical economy is exposed once again as a house of straw and sticks on quicksand with vultures above and weasels beneath.  And I apologize to vultures and weasels everywhere.

Youtube Channel: wKw

 

Data, data everywhere and not a jot to think

A prediction from five years ago: “Big Data – The Next Fad to Hit the Arts?”

Two very recent reports:

The Data Illusion: by Jonathan Kott in The Arts Professional – 14 June 2019

So why are funders so keen to request data from the [arts] sector, while apparently being so careless with their own? The answer may be in the symbolic role of data. The academic Eleonora Belfiore believes that “the taking part in the auditing process itself becomes a performative act: it is the very fact of gathering data and publishing, more than the concern for what the data tell you, or the rigour (or lack thereof) of their collection that becomes paramount… The situation is convenient for funders, as it reinforces their power while making it harder to hold their own performance to account. It also provides useful work for consultants and researchers. For arts organisations themselves, however, the advantages are less obvious.”

A crisis of faith: is Big Data the art world’s new religion?: by Margaret Carrigan in The Art Newspaper – 14 June 2019

Like everything that has been baptised in the fire of Big Data, connoisseurship has been replaced by “intel” – what we know is what we can count. When it comes to the data-driven art market, to pinpoint value is to minimise risk, and without risk—well, then faith is obsolete anyway.

No good deed: Youtube deletes Jeff Quitney’s channel

At one time there were several Youtube channels that found, cleaned-up, and uploaded public domain training films and other documentary-style educational videos for a grateful audience.  wdtvlive42 and Historia-Bel99TV were summarily deleted a couple of years ago.  This week the hammer fell on Jeff Quitney who had presented over five thousand films that he had spruced up.  Youtube does not seem to have an appeals process.  They first demonetized him based on (most likely spurious) copyright claims against music that was part of a few of the soundtracks.  Now, his channel has just disappeared.  Fortunately he has at least partial backups at Bit.Tube and Vimeo.  His goal is to ultimately have everything restored but that will take considerable time.  I’ve linked to him many times and have found at least temporary replacements from the Internet Archive as well as from other Youtubers.  Still, it is a shame what happened to him.

Periscope Film of Los Angeles still exists, providing watermarked films from their commercial library.  Let’s hope they remain and grow.

Addendum 7 April 2019: Looks like he’s making Vimeo his go-to site for old and new videos.  Click the image to go to his Vimeo page.

Click the image to go to Jeff Quitney’s Vimeo Channel

Addendum 10 June 2023: Jeff’s Vimeo site is down, as well.

Calling out Ritchie Rich: Robert Hooks exposes the scam

It’s always good when degreaser is sprayed on oily charlatans.  Emphases added:

Q: Is there a great theater company specifically for African American actors, like Alvin Ailey is for dancers?

A: The closest thing to a black theater company that is able to survive and sustain itself is the St. Louis Black Rep. And theater companies — let’s just take Los Angeles, for example — the Los Angeles Music Center downtown and Mark Taper Forum and all the people that run those companies are getting the grants from the foundations I couldn’t get because they did one black play in their season. The black theater producers, the people who are in the community need the grants, and they can’t get them because the established theaters downtown are taking advantage of those grants.

— Robert Hooks; Washington Post 26 October 2018

Shaw on the golden rule

This little bit of truth is left out of the couple of professional adaptations and the 1941 Gabriel Pascal film of ‘Major Barbara’ available in the usual online sources. Having despaired of Youtube, Vimeo, and even Dailymotion, the answer was close to home.  LA Theatre Works‘s 2007 adaptation, recorded live at the Skirball, keeps it and it flies.  Upper class twit Stephen Undershaft (Hamish Linklater) attempts to lecture his plutocrat arms-maker father Andrew (Roger Rees) and gets dropkicked in the yodelay-he-hos for his troubles.  Dakin Matthews‘s production is available at prx.org .  Click on the image to open a new tab and listen at the site (the media player cannot be embedded here).  Hop to  1 hr 06 min and 30 seconds by clicking within the wave pattern.  Or, listen to the whole thing why not?

LA Theatre Works’s Production of “Major Barbara” via PRX.  Click the image to listen at prx.org

Of course, GBS, were he alive, would probably approve of 45.

STEPHEN [springing up again] I am sorry, sir, that you force me to forget the respect due to you as my father. I am an Englishman; and I will not hear the Government of my country insulted. [He thrusts his hands in his pockets, and walks angrily across to the window].

UNDERSHAFT [with a touch of brutality] The government of your country! _I_ am the government of your country: I, and Lazarus.Do you suppose that you and half a dozen amateurs like you, sitting in a row in that foolish gabble shop, can govern Undershaft and Lazarus? No, my friend: you will do what pays US. You will make war when it suits us, and keep peace when it doesn’t. You will find out that trade requires certain measures when we have decided on those measures. When I want anything to keep my dividends up, you will discover that my want is a national need. When other people want something to keep my dividends down, you will call out the police and military. And in return you shall have the support and applause of my newspapers, and the delight of imagining that you are a great statesman. Government of your country! Be off with you, my boy, and play with your caucuses and leading articles and historic parties and great leaders and burning questions and the rest of your toys. _I_ am going back to my counting house to pay the piper and call the tune.

— Shaw, Major Barbara (Act III, Scene I)

(Minor update to the audio file timestamp on 5/25/22)

Eight Songs for a Mad King

I don’t like vocal music and I don’t particularly like this all that much.  But, what a right proper anthem as the U.S. continues its descent into savagery with an unstable, unchecked Mephisto at the helm.

Eight Songs for a Mad King by Sir Peter Maxwell Davies.

Performed by The Psappha Ensemble:

with Kelvin Thomas, soloist
Conrad Marshall – flute
Dov Goldberg – clarinet
Richard Casey – piano
Tim Williams – percussion / cimbalom
Benedict Holland – violin
Jennifer Langridge – cello

Youtube Channel: The Psappha Ensemble