Paul Ryan is a thoroughly dishonest grifter who has been fawningly enabled by so much of our “mainstream” commercial media. But the irony of the $350-a-bottle wine quafer dissing the idea of free school lunches for the MANY, MANY children in need is so screamingly egregious that some outliers are actually commenting upon it. This would be the same Paul Ryan who was recenty given a credulous pass as he claimed to be deeply engaged in thinking about how to alleviate poverty.
Not to mention the lie that he used to buttress his Just So story on morality. But what’s new about that?
Click to find out what’s going on there. Hibernate during the winter they do not!
In their zeal to put up as many taxpayer-subsidized luxury high-rises in Manhattan as possible, our successive mayoral administrations certainly haven’t given much thought to what’s being displaced. Or just how diversity-impoverished our ever-more-ghettoized-by income city can become.
A woman who runs a dressmaking business from her apartment tells me about going downtown to the former fabrics-and-trimmings district and finding the suppliers she’d long patronized suddenly not there anymore. Inquiries determined that relocation to Long Island City had become unavoidable.
and you want to curl up with a biography of a turn-of-the-twentieth century opera star. I know you do. And one of the best is Clara Leiser’s Jean De Reszke and the Great Days of Opera.
Those sonically appalling Mapleson cyinders (recorded live at the old Met) do more justice to men’s voices than women’s, (as of course is true of the contemporary acoustic recordings) and De Reske is amazing in the fragments recorded during his final Met season in 1901.
You’ll find his L’Africaine costume (O Paradiso’s on the Maplesons) on display on the Parterre eve of the (new) Met. Gleams like it was made yesterday.
And next to De Reske’s is Olive Fremstad’s as Selika in the same opera. It’s an interesting Gilded age attempt at a specked African mud cloth effect.
Fremstad, too, is the subject of a fascinating bio: Mary Watkins Cushing’s The Rainbow Bridge.
De Reske destroyed the few test commercial recordings he made because he wasn’t satisfied with them. Fremstad left the few she made alone, although not at all survive.
Both were consummate singing actors and uncompromising perfectionists.
Laura Clawson at dailykos.com describes how New York and Connecticut (governed by Democrats, both) are fighting the shameful cuts to food stamps.
The Thom Hartman Program documents the way that Reuters “news” service suppresses reality-based reporting on catastrophic climate change, referencing studies by Media Matters for America and the Columbia Journalism Review.
When La Valse came back to New York City Ballet Friday night, everyone in the cast–from lead couple Janie Taylor and Sebastien Marcovici to Ralph Ippolito as Death’s insidious little assistant–existed on stage as if they knew what they were supposed to be doing. It was an exciting and stylish performance. The white-gloved men were dashing without being too much.
Interesting the way that the relationship of the two leads, tentative, testing in the Eighth Waltz of Part 1, seems by the time of La Valse itself to have flared into something more.
When Death enters, everyone at the ballet sinks to the ground and turns away, leaving Tayor’s Girl in White completely and helplessly in his thrall. It’s sort of the same way that in Giselle, the Wilis turn away when Myrtha’s sceptre is foiled–but then again it’s not. By their heedlessness, Balanchine indicts the ballroom spectators in the Girl in White’s fatal dalliance and by extension, we, too in the audience are indicted. We in our seats are, let’s face it, the complete onlooker. It’s only when she falls limp in his arms that everybody else on stage notices that something terrible has been going on.
As I wrote here in 2012, you feel that Balanchine must have been responding in some way to the societal apocalypses through which he’d lived. And watching humanity today turn its gaze away from the encroachment of climate change and so much else, his message is as relevant as ever. I wonder what, if anything–when all is said and done, he did live largely enclosed in the balletic microcosm–he would have to say today.
What he said in La Valse was a chilling depiction of–and a shake of the head at–human folly.
You don’t include cuts to Social Security in the middle of an ongoing retirement crisis, in the middle of an economic “recovery” that has benefited the very same people who caused the economy to collapse, so that you can appease the people who benefited from that collapse, in the vain hope of getting a few tax loopholes closed so that others can immediately be opened.
Now do you?
Thinking creatively–in Rubio’s world-view, that’s ni nada, as you’d say in Russian.
And it certainly won’t help Rubio’s advoacy on behalf of the .5 percent.
Rubio lets it be known that art history’s not a subject worth study. And he tries to posit that study as something opposed to jobs creation, a subject he shows no aptitude or interest in.
Rubio and his GOP-cohorts will continue their politics of division until the Democrats–or someone–stand up and expose them.
One reason the U.S. government is so ineffectual countering foreign human rights abuses is our own record. Andrea Germanos at Common Dreams reports on the 84-year-old nun who’s going behind bars.