My childish photograph does not do this painting justice. The Loing River at Moret (1891) is a work by Alfred Sisley at the McNay Museum. This is not one of his major works, but it is a Sisley and that's enough.
My childish photograph does not do this painting justice. The Loing River at Moret (1891) is a work by Alfred Sisley at the McNay Museum. This is not one of his major works, but it is a Sisley and that's enough.
Terry Gilliam's Don Quixote film always struck me as proof that people in Hollywood are afraid of spending money to make great films:
It has now been 18 years since Terry Gilliam first tried to film The Man Who Killed Don Quixote, a.k.a. The Movie That Will Probably Kill Terry Gilliam, Instead. In that time, Gilliam has faced a Job-like series of setbacks on the film, from flash floods to sick actors to dead actors to some “Portuguese chap” who couldn’t deliver the financing he supposedly promised. And yet, Gilliam has persisted on the film for almost two decades, blowing through our entire stock of jokes about “tilting at windmills” and the entire project becoming the exact definition of “quixotic.”
Today, IndieWire reports that Gilliam has hopped back in the saddle again, putting together an unnamed source and an Instagram post from original cast member Rossy De Palma that indicate that production has once again resumed...
There's no reason why a Gilliam film can't be properly marketed and treated like any other commercial film product. Every year, the Oscars come and go, and the absence of really important and great films is the elephant in the room. When was the last time anyone found themselves truly inundated with great films in the span of a calendar year?
The failure to recognize the fact that he does have an audience and that he does have a masterful ability for filmmaking is a result of something entirely not his fault. Wanting to shoot a script and make a film that satisfies the artistic itch is the ultimate worthwhile endeavor.
It used to be fun to watch VEEP because you just knew that the real thing wasn't as awful or as cynical as what you were seeing on television.
Holy mother of God, it's like a version of reality we all wish we were living. The real thing is so much more awful, so much more venal that it is impossible to overstate just how horrible things have become.
Can a show that shows us a funny way of looking into the political and social lives of selfish people survive in an era when the real thing is more of a farce than what's written as fiction? Well, if they have been working their asses off, sure. It's entirely possible for art to transcend reality if people have put in the effort. This is a show where people have been doing that so why not?
There's a fascinating magazine cover coming out soon, and it's for the New Yorker. You can see the Cyrillic lettering and the immediate joke--Eustace Vladimirovich Tilley is what it is called.
The scathing cover will accompany an investigation featured in the next issue that explores Russian President Vladimir Putin's influence on the presidential election, and the frightening return of a Cold War the United States is at risk of losing. The issue comes in the wake of a bombshell report on Thursday that cited White House officials requesting the FBI dispute evidence Trump aides communicated with Russian officials during the election. According to CNN, the FBI rejected that request.
This is a riff on the first cover of the New Yorker, and so it represents a little bit of highbrow satire and commentary, right down to the onion dome over the shoulder. The "elites" are contemplating Donald Trump as some sort of angry insect that should be disdained or kept safely at a distance. Trump himself is depicted as being in an impotent, volcanic rage as per usual. Oh well, they never did like me, or so says Trump.
I think this is important for a number of reasons. One, it's a view of the president that is being expressed in caricature that is becoming normal for people to see--Trump as something small, insignificant or annoying. He is rarely, if ever, depicted in a neutral or positive light. We see the buffoonery and the cartoon aspect of him, always in orange and always with his mouth open. He is never a man shown thinking.
Two, this is really a better example of populism than it is elitism. There isn't a huge audience out there for the New Yorker, but there is one for people who want information about what's going on so this amplifies the need to figure out what is the connection between Trump and Putin. The populist angle here is that it gets to the heart of the notion that the people who voted for him now want to know where his loyalties lie. This New York-centric publication is doing the work that used to be done by major American newspapers. I think it is important for people to read and hear things that inform them and keep them up to date on the latest scandals. At any other point in our nation's history, Trump would not only have not been the Republican president, he wouldn't even have been the nominee. People are still furious about this, and even a New Yorker cover can inspire and sustain their embrace of populism in the face of fascism.
Three, this chips away at the people stuck supporting Trump. These are the dead-enders. A good number of them believe this is all phony. What's astonishing to people who follow the news and read the New Yorker has been the fact that Trump got elected by rather overtly working with the Russian government. Well, the magazine is about to do a deep dive into all of that. Will it change anybody's mind? Who knows? If you're a Midwestern Republican, this image just sails right past you without registering. But there are always people who peel away from madmen. There are many people who cannot roll with an incompetent banana republic president.
Four, the artistic renderings of Trump and Putin are now becoming too numerous to ignore. The constant refrain--the riffing and meme-ing if you will, are devastating. Presidents who are depicted in the popular day-to-day media in a negative manner have the impossible task of living these things down. Think George W. Bush as big eared and clueless. Think of Bill Clinton as always smiling, even when depicted by those opposed to him. Think of President Obama, cool and poised no matter what was thrown at him. In a little over forty days, the general impression of Trump is that he is a howling, braying old fool with his cake hole permanently set to spew.
The artful aspect here is invaluable. Want to bring Trump down? Draw a picture of him bellowing and fussing about nothing while on his phone. This is what defines him and keeps everyone else sane.
I had the chance to go see the collection at the McNay Museum in San Antonio, Texas, and I just had to collect a few images and write about what I saw.
The McNay has a wonderful collection, and I'm starting with one of the Picassos they have because why not? Portrait of Sylvette is an excellent piece of cubism and I very much enjoyed seeing how these paintings were presented. The whole visit was enhanced by the fact that this is a museum that does everything the right way. You can walk through the exhibits, sit down, and relax. I highly recommend going.
This is a terrible loss for film and theater. Paxton was not a mere Hollywood actor. He was serious about his craft and made everything he was in better.
Just when you thought that liberals were going to be able to get one over on conservatives and sneak some pro-gay adoption propaganda into the burgeoning animated kids movie market, it all falls apart because conservatives are too smart:
The new Lego Batman Movie has come under fire from Catholic evangelists who have slammed the film as “pro-gay propaganda”.
John Henry Westen, Canadian Editor-in-chief of the socially conservative website LifeSiteNews.com, posted a review of the film titled “BEWARE: LEGO Batman movie promotes gay adoption”. He criticised the creators for being “so anxious to subtly indoctrinate the little ones into the gender ideology that making it humorous came as a distant second thought.”
I thought conservative Catholics were out trying to locate and remove all of the priests who diddle little kids. Apparently, they have some time on their hands. Or they're dumbasses. I vote for having no brains, no talent, and no understanding of the culture.
Everyone knows propaganda works when the film is fall-down funny. Maybe that's the angle all of us in on this conspiracy should have taken. Instead of making a sober, depressing movie about what happens when a gay Batman adopts a gay Robin so they can have that gay lifestyle thing happening, they should have written a lot of great jokes, used a lot of expensive animation, and gotten some funny actors to read all of the dialogue.
Oh, wait a minute. Rotten Tomatoes says they did that. My mistake.
River-facing facade of the Long Center, Austin, Texas.
I've had this mini-magnum pocket pak by Plano for at least twenty-five years, if not more. I think it's time to go on a buying binge.
This is the evening sky at sunset, and it looks worse than it actually was. The moon is a bright blur near the center, and I almost think it looks like a dragon. Something like that.
This is a very simple shot, and the light was very good. I would guess that this is about an hour before sunset, and the buildings almost look like toys.
Mary Tyler Moore, the Oscar-nominated actress best known for her roles in the television sitcoms "The Mary Tyler Moore Show" and "The Dick Van Dyke Show," has died. She was 80.
"Today, beloved icon, Mary Tyler Moore, passed away at the age of 80 in the company of friends and her loving husband of over 33 years, Dr. S. Robert Levine," her publicist, Mara Buxbaum, told ABC News. "A groundbreaking actress, producer, and passionate advocate for the Juvenile Diabetes Research Foundation, Mary will be remembered as a fearless visionary who turned the world on with her smile."
Moore's portrayal of the single career woman Mary Richards in her eponymous 1970s show arrived alongside the Women's Movement, making her a role model for generations of women, even though Moore didn't consider herself a feminist. The show, which centered on Richards' work as a producer in a fictional Minneapolis newsroom and her life as a single woman, earned 29 Emmy Awards, the most for any scripted series until "Frasier" won its 30th Emmy.
I grew up in Minnesota, and the iconic image of Moore throwing her beret into the air on the Nicollet Mall is a timeless piece of television history.
Will Hollywood Learn From Hidden Figures’s Success?
Hidden Figures has been the breakout film of 2017 thus far. Starring three African American women (played by Taraji P. Henson, Janelle Monáe, and Octavia Spencer), it focuses on an unheralded piece of American history: the work of black female mathematicians and engineers at NASA in the 1960s. Released to strong reviews, Hidden Figures seems destined for a few Academy Award nominations next week. Since it expanded nationwide, it has spent two weeks at the top of the box office, ahead of big-budget films like Monster Trucks, Patriots Day, Live By Night, and Oscar frontrunner La La Land. Made for a comparatively small $25 million, the film is essentially guaranteed to gross at least $100 million in the United States alone, posting a very healthy profit for its studio, 20th Century Fox. The viewing public’s desire for a film like Hidden Figures is indisputable. So why does Hollywood make so few of them?
In 2015, only 32 of the top 100 films at the box office featured a female lead or co-lead; only three of those leads were women of color, and almost half of them did not feature a black female character in any capacity. After having an all-white slate of acting nominees for two years in a row (spurring the hashtag #OscarsSoWhite), the Academy is trying to diversify its voting body with the hope of rewarding a broader selection of films. But Hollywood at large is showing few traces of change. Last year’s most successful films, largely superhero sequels and animated blockbusters, lack for variety in their storytelling. The slow nature of film production means it can take years to really reflect a shift in studio thinking, but Hidden Figures still feels (disappointingly) like an anomaly rather than a sign of a real transformation.
Hollywood is happy to turn out a handful of small, independent pictures like this but, really, the whole thing is built around larger movies with special effects that will appeal to global audiences. The economics are such that, if they were to shift everything, lay off thousands of special effects people, and try to make movies like this, it would bankrupt the industry faster than it's going bankrupt now.
In short, they want to make movies Chinese teenage boys will want to see, own, and watch repeatedly. They don't want to empower a generation of African-American actors and then start having to pay them what they're worth. The only way they can survive is to keep making superhero films that don't suck. They don't care about filmmaking or art anymore--it's not 1970. The biggest directors are not visionaries--they're successful project managers who can work for months on end and produce content.
Who's the new Robert Altman and why isn't he making movies?
Octavia Spencer alone is one of the greatest actors of her generation. She's not just an actress. She's not just a black actress. She's a fucking actor. They don't treat her like Tom Hardy, Michael Fassbender, or Tom Hanks because they think she's not a movie star. Put her in a movie with five or six other people who can act, make her the lead, and she'll blow the fucking doors off of people. Do you think there's a Hollywood producer out there ready to sell that to a studio? Who's going to give her $10 million to start in a film and have her as the top billed actor?
Nobody. And that's a crying goddamned shame. She's amazing. And she's undervalued and under appreciated.
Manchester’s proposed £110m arts centre, the Factory, has moved a step closer to being built after city councillors gave planning permission for the Rem Koolhaas-designed building.
The Factory will be erected on the site of the former Granada Studios and is seen by the city council as a game changer, one which the authority’s leader, Sir Richard Leese, has said would “make Manchester and the wider region a genuine cultural counterbalance to London”.
It is a central part of the northern powerhouse project, championed by the former chancellor George Osborne, who pledged £78m of government money in 2014, a sum which was confirmed this week following a Treasury review of the full business case.
The enormous and striking glass cube construction will be the first major public building in the UK by Dutch architect Koolhaas and his Office for Metropolitan Architecture (OMA) practice.
I still can't figure out how they got through this whole article without paying homage to Tony Wilson's Factory music label, which essentially defined the music scene in Manchester.
Creation Stories is a book I enjoyed reading, but it did leave me wanting more.
I should state, up front, this review of the book is not a normal one. The book came out two years ago, and I just got around to it recently. I do recommend this for fans of the British music genre known as "Britpop" because you'll get a fair amount of background information from the book. You'll want to view it as a historical look at British independent music from the early Eighties until the end of the Nineties. It is not comprehensive, but there are a fair amount of good anecdotes to give you a superficial understanding of where Creation Records and Alan McGee fit into everything.
McGee downplays himself throughout the book. He could rightly call himself a genius at several things, but specifically he was enormously gifted when it came to spotting talent. This is a combination of knowing how to size up people, evaluate their skills, hear what they could do on stage, and make a business judgment about them relative to the music industry. Many people have done this and done quite well; McGee found the biggest band since U2 and a dozen other bands that were both commercially and artistically successful. He found Oasis, the Jesus & Mary Chain, Primal Scream, and a slew of other bands. He made millions for himself and for the artists that he worked with. He had his finger on the pulse and built a successful company.
Now, the fact that he did all of that while out of his mind on drugs is neither here nor there. The book details his prowess finding artists and it reveals the failures he had both professionally and personally. This is an honest book, through and through.
McGee could have been more specific and he could have researched dates and times and really looked at how Creation Records moved and shaped the culture. He could have done one book separately on Oasis and one on the company; it all blends together after a while. He is probably on the hook for another telling of these stories, and that's all right--there's so much more happening that you miss out on. I would have liked more focus on the business side of things, just to get more of a feel for how he ran things. What I came away with was an understanding that this wasn't a madcap laugh or a lucky break. Building Creation Records wasn't just what he did while on drug holiday or while sleeping on trains. He bridged the music scenes from Manchester, Glasgow, and London and made local acts global stars. He put music in the hands of people who never would have discovered it. He spent millions on records that otherwise would have never been heard.
I do think it was a good read. I do wish there were specific year by year breakdowns and summaries of how big the company got, how big was the roster, why bands would come and go, and how it all compared to other labels in the same business. He breezes through some of these details and you don't really get the whole story of what happened when Oasis dwarfed the rest of their roster of bands and why some acts broke out and why some faded away. I don't know if he's trying to be even-handed or spare feelings, but he's relentlessly hard on himself and honest about his failings. In and of itself, McGee's harrowing descriptions of life at home and his health scares makes this a worthy read.
If McGee gets around to writing about more of the things I've outlined above, then all the better.
Tyrus Wong was a Disney Legend, one of the influential artists who inspired much of the look and feel of the film Bambi. He was also an immigrant who came to these shores and was treated to racism and discrimination. In spite of all of that, he became a highly respected artist and illustrator.
Yiannopoulos’s payday was met with calls for a boycott of Simon and Schuster’s entire catalogue, which spans 35 imprints, including a call by a literary journal to not review any of the company’s books in 2017.
A representative for the company did not confirm the reported financial advance amount and said they do not comment on those figures. The literary agent working with Yiannopoulos has not responded to a request for comment from The Daily Beast either.
In response to the announcement, The Chicago Review of Books vowed not to review a single Simon & Schuster book in 2017 due to the new book deal. The company typically publishes about 2,000 books per year.
“In response to this disgusting validation of hate, we will not cover a single @simonschuster book in 2017,” the journal announced on its Twitter account.
Some Simon & Schuster authors struggled with the boycott of their own publisher, noting that they don’t agree with Yiannopoulos’ views, but still need to sell books.
“(That face when your) publisher signs a hate troll & people call for a boycott & you’re like well yeah but um,” Simon & Schuster author Michael Robbins wrote on Twitter. “(It’s the) same imprint (that) published Trump’s ‘Crippled America.”
If you're going to take a racist hate monger, and give him a publishing deal, then you have to accept the fact that people are not going to stand for it. If that hurts Les Moonves and the CBS media empire, so be it. Making hate a mainstream product you can buy in stores is not a marketing plan I would want to be a part of. I have no idea what the management at that particular imprint of Simon and Schuster was thinking when they gave this Milo character a quarter of a million dollars. Perhaps they weren't thinking at all.
Everyone and everything surrounding the "Alt Right" is so toxic right now that for a major American media company to lavish money on someone with those ties is absolutely reprehensible. Clearly, this is never going to be acceptable.
There already is a vast "wingnut welfare" infrastructure that publishes this material and puts it into the marketplace. Anti-liberal books were all the rage for years until they stopped selling in adequate numbers. No one is censoring these ideas, but they should be subjected to the marketplace. Whatever a boycott of Simon and Schuster accomplishes is fine by me. You cannot and should not mainstream hate in America and not pay a significant price for it at the cash register.
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