Joe Marcinek Band, Holly Bowling Added To Amy Winehouse, The Band, Phish Tribute

first_imgOn April 26th, between Jazz Fest weekends in New Orleans, three back to back tribute shows will be taking over the Howlin Wolf for one stacked night of incredible music. First up, Elise Testone will be bringing her all-star Amy Winehouse tribute, Thankful For Amy, along with Jennifer Hartswick (Trey Anastasio Band), Natalie Cressman (Trey Anastasio Band), Chris Bullock (Snarky Puppy), Cris Jacobs (The Bridge), Chris Severin (Allen Toussaint), Raymond Weber, and Nicole Zuraitas. Then, funk army Turkuaz will take the stage to perform a tribute to The Band. Finally, it’ll all wrap up with the NOLA debut of Jazz Is Phish featuring Chris Bullock (Snarky Puppy), Michael Ray (Sun Ra/Kool & The Gang), Anthony Wellington (Victor Wooten Band), Derrick Johnson (Yo Mama’s Big Fat Booty Band), Josh Thomas (With Lions), Adam Chase (Chase Brothers) and Matthew Chase (Chase Brothers).The latest additions to the lineup have been revealed. Joe Marcinek Band and Holly Bowling will perform in The Den, adjacent to the main venue. This edition of Marcinek’s rotating lineup will feature Marty Sammon (Buddy Guy) and Rick King. Previous renditions of JMB have featured members of String Cheese Incident, Snarky Puppy, The Motet, Yonder Mountain String Band, and Lettuce, to name a few. The band plans to jam through songs from the Grateful Dead, Stevie Wonder, Bill Withers, Professor Longhair, Paul Simon, Phish, and more.Bowling never ceases to amaze an audience with her intricate renditions of Phish and other jamband tunes for classical piano. Best known for her recreation of the epic 35 minute-long “Tahoe Tweezer”, she has since branched out to tackle songs from the Disco Biscuits, Grateful Dead and more, even playing with members of Umphrey’s McGee and the Biscuits on Jam Cruise. For her first time playing in NOLA, you can bet she’ll be pulling out all the stops.SHOW INFO:Thankful For Amy: An All-Star Tribute to Amy WinehouseTurkuaz Plays The BandJazz Is PhishIn The Den:Joe Marcinek BandHolly BowlingThe Howlin Wolf4/26/16Doors at 10, Show at 10:30**Tickets**last_img read more

Widespread Panic Debuts Petty Tune, Shows Gratitude In Milwaukee [Photo/Video]

first_imgWith a tour schedule much less demanding than in past years, every Widespread Panic show counts. After having played some great shows in St. Augustine, Florida, despite the hurricane damage and destruction in the area, last night, Widespread Panic brought their signature show experience to the Riverside Theater in Milwaukee, Wisconsin, for the first of three nights. Any Spreadhead knows that these shows are always some of the best of the year, and last night’s run opener did not disappoint. There is no home away from home like the Riverside for the band that hails from Athens, Georgia.Widespread Panic Concludes St. Augustine Run With War & “Coconut” [Videos]To make the experience even better, this year was more like a festival than just a show. For the first time in the history of the fall Widespread Panic runs at the Riverside, the street actually closed down and a beer garden sprouted up out of the concrete jungle of Milwaukee. Fans were absolutely delighted by this new part of the spectacle as the road was absolutely packed. The fact that it was an absolutely gorgeous and unseasonable 70-degree October day in Wisconsin didn’t hurt either.Widespread Panic Tears Through Night 2 In St. Augustine [Videos]The party moved indoors once the showtime neared. With many discussing the proverbial age-old question of “What song will they open with?”, the band organized their biggest surprise of the night when they wasted no time in paying homage to the late Tom Petty by opening with “You Wreck Me”. It was fiery and filled with energy, and singer/guitarist John Bell was able to summon his inner Petty to belt out the vocals. Of course, the Petty cover shouldn’t have been too surprising as he only passed away at the beginning of the month, and Friday’s show was the first Panic show since then.“You Wreck Me” [Video: Fred Ramadan]Ultimately, “You Wreck Me” was a great way to start the show. Another first-set highlight was the “Machine-> Barstools & Dreamers -> Machine” segment. Besides the silky smooth transitions blending the songs together, “Barstools” had a nice “Thank You Falletinme Be Mice Elf Again” jam that undoubtedly was one way the band was thanking their devout and loyal followers in the Wisconsin area. One JoJo tune that is rarely played but delivers every time is “Big Wooly Mammoth.” Later, an instrumental “B of D” helped wind down the first set before the set’s closing “Action Man”.Widespread Panic Returns To St. Augustine With Charitable Grace [Videos]Second set couldn’t have started out any funkier with “Old Neighborhood.” Funk turned to straight rock with “Make Sense to Me” and “You Should Be Glad”. A breather came with “Jesus Just Left Chicago,” as the ZZ Top staple slowed it down after the previous, peak-oriented tunes. Another slower number, “Mercy,” followed and was played with equal emotion and soul. After the drummers’ segment, they returned to rock-n-roll with “Rock” and “Protein Drink/Sewing Machine” to end the set. “Honky Red” was played in the first encore slot and was followed by “Ain’t Life Grand.” Widespread Panic will play two more shows in Milwaukee before heading out to Vegas for Halloween and Atlanta for New Year’s Eve.You can check out photos from last night’s Widespread Panic show below, courtesy of Daniel Ojeda.Setlist: Widespread Panic | Riverside Theater | Milwaukee, WI | 10/20/2017Set One: You Wreck Me, Weight of the World, Machine -> Barstools & Dreamers -> (with Thank You Falettinme Be Mice Elf Again tease/jam), Machine, Travelin’ Light, Visiting Day, Big Wooly Mammoth, Aunt Avis, B of D, Action ManSet Two: Old Neighborhood, Makes Sense to Me, You Should Be Glad, Waiting for the Bus -> Jesus Just Left Chicago, Mercy -> Jam -> Bust It Big, Drums, Rock, Protein Drink -> Sewing MachineEncore: Honky Red, Ain’t Life Grand Widespread Panic | Riverside Theater | Milwaukee, WI | 10/20/2017 | Photo: Daniel Ojedacenter_img Load remaining imageslast_img read more

‘So that represented my own little rebellion’

first_imgStories of learning, teaching, and turning points, in the Experience series.How many scholars of the Renaissance wind up as guests on “The Colbert Report”? It’s safe to say that Harvard literary theorist and critic Stephen Greenblatt is the only one. He used the appearance to trade Shakespearean jabs with the acerbic host, easily holding up his end of the bargain. In real life, Greenblatt — winner of both a Pulitzer Prize and a National Book Award for “The Swerve: How the World Became Modern” — teaches in Harvard’s Department of English.Along with Shakespeare and early modern literature, his scholarly interests include the way literature intersects with travel, religion, and anthropology. He also teaches literary and cultural theory. During the 1980s, Greenblatt introduced New Historicism, a set of critical practices that welcome the historical and cultural context of a great work into its interpretation.Though renowned for his scholarship, and celebrated for both his teaching and his public lectures, Greenblatt at his core is a storyteller — a writer who makes the magic of centuries-old literature come alive for modern audiences, both academic and general. Aside from “The Swerve,” his best-known books include “Will in the World: How Shakespeare Became Shakespeare”; “Marvelous Possessions: The Wonder of the New World”; and “Learning to Curse: Essays in Early Modern Culture.” He is also general editor of both “The Norton Anthology of English Literature” and “The Norton Shakespeare.”Greenblatt, 70, came to Harvard in 1997 after teaching for almost 30 years at the University of California, Berkeley. He is the John Cogan University Professor of the Humanities.Q: Tell me about your boyhood. What might have put you on your path to being a scholar?A: One constant theme in my whole life is a fascination, somewhat compulsive fascination, with the power of stories. Anyone who works on the kinds of things I do must, I imagine, have something of the same compulsion. For me, as for most everyone else, the sense that stories are powerful and important has its origin at home, that is, locally and intimately. In different ways both my mother and father were storytellers — my mother quietly and rather shyly; my father in a much more florid, performative way. When we walked to his law office in Boston, it was very difficult to get up or down State Street in a reasonable amount of time because he would constantly run into people and they would immediately begin to trade stories — this being Boston in the 1950s they were largely ethnic stories, often with punch lines I did not understand.I grew up with the rhythms of these stories in my ears, and on my mother’s side more intimate stories, made up specially for me, and in which I figured as a character. If I were to ask myself, why have I thought my whole life that stories are an enormously powerful way of conveying things that are most important to a human being, it must be this peculiar inculcation in the family and home.Q: Were the stories, the stories your mother in particular told, family stories?A: Not really. My mother’s stories were meant, looking back, to be mostly monitory tales told about someone named Terrible Stanley who was always getting into trouble by crossing the street to get to the Franklin Park Zoo — until I turned 5 we lived in Roxbury — and failing to look both ways. We’re not talking about “King Lear” here, or about the complexities of a rich family archive. The stories were not even quite about me; they featured a character named Stanley, not Stephen. But I understood that I was implicated in the narrative.Q: Were your parents in the literary world?A: No, no. My father was a lawyer in Boston. My mother was not employed. She was a homemaker, as I believe at that point it would have been called.Q: Were there other figures in your family who influenced your sense of storytelling?A: I was from a very extended family, but somehow this gift was particular to us. It seemed to be the trademark of my nuclear family. I can’t think of anyone else in the immediate orbit who had the particular narrative gifts, or narrative obsessions, of my parents.Q: So we go at some point from these stories to books, and then from books perhaps to school. Was your household full of books?A: No, not at all. There were relatively few books on my parents’ shelves. And my father, even though he was a lawyer, did not go to college. He became a lawyer in the days in which you could go straight to law school from high school. My mother didn’t go to college or university. My older brother, who was four and a half years older, was the first person in my nuclear family to go to college and I was the second.Ours was not a bookish family, but as was typical of Jews in the mid-twentieth century, my parents deeply respected learning. They admired and looked up to anyone whom they identified as a professor, as if the title itself had a kind of magical power.Q: When did you become acquainted with the world of books?A: If you have relatively few books, then the few you have are quite significant to you. So I had an extremely intense childhood relationship to “A Thousand and One Nights,” that storybook about stories par excellence. We happened to have it in our bookcase. I don’t know why. Then there was a volume called “Richard Halliburton’s Book of Marvels.” Halliburton was a writer of no particular literary distinction, but he possessed a charming exuberance. He traveled around the world and saw exciting things — the Golden Gate Bridge in San Francisco, or the Great Wall of China — and he wrote somewhat breathless accounts of his adventures. I can remember every one of the small number of children’s books we had with great vividness, so I must have read them 5,000 times each.We had two categories of books on our shelves. We had a relatively small number of the kind I just mentioned. And then we had — also in relatively small numbers — Jewish books. My father owned a complete set of “The Jewish Encyclopedia,” an English-language version of the German “Wissenschaft des Judentums” [“Judaic Studies”]. Huge, heavy, scholarly volumes about the history and practice of Judaism. I have them now in my library at home. When I open the pages, I still find corsages that were pressed in them by my mother many decades ago, like ghosts emerging from the distant past. I think in fact my father bought the set because a very clever salesman told him it would be a way of remembering the dead. There’s an elaborate memorial sheet in the first volume. My father, who had very little money at the time, must have been persuaded that buying such extremely expensive volumes about the history of Judaism would be a good way of honoring his deceased father. I have, in any case, always felt the peculiar relationship between books and the memory of the dead.Q: Was there a moment in your childhood — at the local library say, or the library in your school — where you were awakened to this vastly larger world of books?A: I had the good fortune of going to public school in Newton, which was full of superb teachers, several of whom in particular have stayed in my mind: One English teacher, Sam Granger, whom I had in both seventh and ninth grade, was memorably mercurial, entertaining, and demanding. And then in high school another even more brilliant English teacher, John Harris, made an enormously powerful impression on me and remains for me a model of intellectual integrity. I had very good teachers in college as well, of course, but the teachers who matter to you in the very deepest way are likely those who get you early.‘For me there are no fundamental intellectual differences between what you tell the initiated — your colleagues and graduate students — and what you tell the uninitiated.’Q: Along the way here, was there an author or particular book that gave you a passion for great literature?A: I don’t know that I can say that. I was no child prodigy. In fact, I encountered “As You Like It” in Miss Gillespie’s eighth-grade class — and it seemed like the worst, most boring thing I ever read in my life. I can still remember the shudder with which I received the words “Sweet my coz, be merry.” I just didn’t get it at all. So it’s not like I awakened as a child to the wonders of Shakespeare.But I do remember reading “Anna Karenina,” and finding it gripping. This must have been in high school, and I recall the experience with some sense of comedy because when I went for a college interview I said to my parents maybe I would talk about this novel because I loved it so much. And my parents — who, as I say, hadn’t gone to college — told me, “Oh, don’t do that. They’re not interested in that. Talk about sports. That will show them that you’re a regular fellow.” So I kept trying to bring the conversation back to Ted Williams.I recall too with great intensity an early reading experience that had nothing to do with imaginative literature. I read Nietzsche’s “Genealogy of Morals” — I do not know where I would have come across it — and I was unbelievably disturbed by it. I can only think of the French word, bouleversé, turned upside down. … it still seems to me an astonishing work, marvelous and hateful at the same time, brilliant and horrible. Even now, so many years later, I can actually channel the feeling, as it were, of getting hit by its intellectual and rhetorical violence.Q: That junior high school experience with Shakespeare. Was that your first?A: It must have been my first. Why a junior high school teacher would have chosen “As You Like It,” that most sophisticated of pastoral comedies, to inflict on pubescent boys — or girls — is beyond me.Q: What would you have chosen?A: That’s a good question. Hmmm. The traditional choice would have been “Julius Caesar,” which I think is certainly better than “As You Like It,” though still very difficult to come to grips with imaginatively. Maybe “Macbeth,” maybe “Romeo and Juliet.”Q: How about “The Tempest”?A: Perhaps. In any case, these were the days before a teacher could show videos. It would have made a huge difference to give students an idea of what it could possibly sound or look like. I remember feeling completely baffled by the opacity of the language. If I had seen the wrestling match at the start of “As You Like It” I might well have gotten it.Q: But — not to belabor Shakespeare — at what moment was he reclaimed in your imagination?A: Not so long afterwards, in what must have been my senior year in high school, my gifted teacher, John Harris, centered a whole semester on a single work, “King Lear.” At a certain point he said he didn’t understand something quite crucial in the play. I had never heard a teacher saying he didn’t understand anything about anything and that made a very deep impression on me. The license to recognize that something is eluding you, and that you’re forced to grapple with it — not to take flight, but to wrestle with the angel — seemed to me crucial. From that moment on — though I did not decide I was going to be an English professor — I saw that there was something for me.Q: Was there a moment along the way where you decided: This is what I am going to do. Or were there temptations to be a lawyer, or …A: Yeah. I was attracted to graduate school in English, but I thought I was going to be a lawyer. My brother always knew he was going to be a lawyer — and he did become a lawyer, and had a practice with my father. Though I was drawn to literary study, I assumed that I would eventually join them. In my senior year of college, though looking back it seems a bit strange, I applied to a single law school — Yale — and I also applied to a raft of fellowships to study abroad. So I basically figured I would be a lawyer, but I would defer entering law school if I had a chance to go overseas. I had never been out of the country.I was admitted to Yale Law School and turned down for the first six of the seven fellowships that I applied for. So it looked like the die was cast for law. But the little ball went around the roulette wheel and happened to land on the last spot. I got a Fulbright to England.I deferred my entrance to law school — Yale very kindly agreed — and then I went off to Cambridge to do English. I was still obsessing about graduate school, and I bored all my friends and myself silly wondering what I should do. In the fall of my first year in England, I applied for a renewal of my Fulbright and a renewal of my admission to law school. On the long Christmas vacation, I found myself in Istanbul, where someone forwarded to me my mail and I learned that both renewals had been granted.I remember holding the two letters in my hand. And for reasons I still cannot fully explain — partly because I had just turned 21, partly because I was in Istanbul, and I was standing on the Galata Bridge — I impulsively tore up the letter from Yale, threw it into the Bosporus and decided to stay in Cambridge. I knew that if I wasn’t going to go to law school the next fall I wasn’t going to go, period. I was going to go to graduate school.Q: So you spent two years at Cambridge.A: Right. Then I entered the Ph.D. program in English at Yale in the fall of 1966.Q: Had there been many influences in your undergraduate years at Yale that got you to graduate school there?A: I had a great time at Yale. My undergraduate thesis, such as it was, was published as a book by the Yale University Press. So I had, at least in this slightly comical form, lost my virginity as a writer of academic books.Q: What book was that?A: A book called “Three Modern Satirists,” about Evelyn Waugh, Aldous Huxley, and George Orwell. Funny even to think about it.Q: Were there deep, John Harris-style influences at Yale?A. Yes, there was one remarkable person — still alive — who was quite important to me, both as an undergraduate and then subsequently as a graduate student: Alvin Kernan, a first-rate Renaissance scholar who wrote extremely vigorous prose and who was to me an interesting, slightly exotic, figure. He came from — I can’t remember any longer — Wyoming or Montana and had been on an aircraft carrier in the Battle of Midway in World War II. In his retirement he wrote several quite good books about his days in the war.Q: So there’s him.A: And then I had an array of remarkable teachers — Robert Penn Warren and Cleanth Brooks, and Maynard Mack: the giants before the flood. Yale has always run a good English department and it had a great one in those days. It would be difficult to reproduce in any university today the feeling of this moment in the 1960s where literary study seemed to be the absolute beating heart of intellectual life, the most exciting thing that was going on.I’m somewhat resistant to the hand-wringing about the present so-called crisis in the humanities. There are other competing intellectual interests and I think on the whole that is a good thing. But I don’t regret that I experienced for myself that period — which continued all through the 1970s — when English seemed unbelievably energized and exciting.Q: Forgive me one slight swerve: But — Robert Penn Warren!A: He was fabulous. I had a very small class with him. There must have been only eight or 10 students — Yale was all-male at that point. We sat around and read Faulkner and Fitzgerald and Hemingway and he talked about how the books were put together, and how the sentences worked. I found it thrilling. I didn’t know him as a poet at that point. I knew him as the author of “All the King’s Men,” but also as this remarkable teacher.Q: What about the Cambridge moment earlier, the two years you spent there. Were there big influences there?A: It sped me on my way. From an intellectual point of view, maybe most of all, there was Raymond Williams, who was the leading English Marxist literary critic at the time. I had never encountered a real live Marxist, let alone someone who combined Marxism with literary criticism and an aura of sturdy, working-class authenticity. It was a very important moment for me that led into the political ferment of the late ’60s and ’70s.I would also go to tutorials with F.R. Leavis, a legendary figure, who was then a kind of anti-Christ at Cambridge, having been expelled from the department. He had fought with everyone but he would have seminars in his own house and I would go quite regularly.Greenblatt, pictured at his Cambridge home, remembers an early engagement with “Othello” as crucial to his development as a teacher and a writer.Q: Thinking back to that moment in Istanbul: The setting had something to do with your decision. Was there something analogous about the setting in Cambridge, this seat of great, ancient learning, at least by American standards?A: By almost any standards, Cambridge is ancient. But I knew almost nothing about the place before I went there. In those days as a Fulbright you could more or less name what college you wanted to go to. I said that I wanted to go to Pembroke College, and for two reasons. One, the undergraduate thesis I wrote was on modern satire, and at Pembroke there was a man named Matthew Hodgart, who had written an important book on the subject and who could, I thought, be my tutor. And second, Pembroke was the Renaissance poet Edmund Spenser’s college, and I thought that would be cool.When I got there I discovered that Hodgart had left. And yes, there was an old portrait of Spenser on the wall, but I could have had more informed ways of choosing a college than that. Yet in the end it turned out to make a difference: My decision to work on the Renaissance, rather than on contemporary literature, had something to do with the fact that Pembroke College, as I had not fully grasped, had a very strong stamp from the English Reformation. And then one of the “papers,” as they called them in the big Cambridge exam, was on the period from 1569 to 1603. In the course of immersing myself in that brief period, I read the poetry of Sir Walter Ralegh, which amazed me — really amazed me. I couldn’t understand how someone in the 1590s had written poetry that sounded to me uncannily like T.S. Eliot.When I came home and entered graduate school at Yale, I chose to do my dissertation on Ralegh. I wanted to discover what it was in this man’s life that made him produce such strange poetry. And it turned out that Ralegh had an astonishing life. He was a courtier and a monopolist and an explorer and an adventurer and a scoundrel and a troublemaker. He wound up spending years in the Tower of London and eventually ended up getting his head chopped off.Once I began to understand something about Ralegh’s career, the question with which I had begun turned itself inside out. I wanted to know how someone who had led such a life had written poetry at all. It didn’t make sense. What was someone who was scrambling at court to get the monopoly on playing cards or exploring Guiana doing writing poetry?At the time, Yale was the beating heart of New Criticism, which meant you precisely didn’t interest yourself in the historical world that poetry comes from. You focus on the formal aspects of the work, about which you could say very interesting things. You learned certain techniques of literary analysis, and you left for historians, or for middlebrow people, the concern for what it meant to be a courtier or an adventurer.And so my own small rebellion — my form of biting the hands of those who fed me — was to be interested in those things that were meant to be ignored. Partly, as I say, I had already had this experience with Raymond Williams — learning what Marxists were saying about art’s relation to life. And so I thought: All right, that’s what I want to do. Virtually all the work that I’ve done in the subsequent decades came out of that determination: to put the work of art back into the life-world from which it came and to understand its effects upon the very different life-world it may enter, often centuries later.Q: And we all love you for that.A: Though I was impatient and often bored with it at the time, I don’t at all regret the rigorous formalist training I received. On the contrary, I use it all the time as a way of both counterbalancing and enhancing my cultural, anthropological, and historical interests. And I think my generation to some extent failed to transmit adequately to the next generation the toolkit that we had been given.At a certain moment in — it must have been ’68 — I remember coming out in the hallway, and buttonholing a friend of mine, and saying: “I’ve written the first sentence of my thesis.” He asked, “What is it?” And I said, it’s “Sir Henry Yelverton, the king’s attorney general, was no friend to Sir Walter Ralegh.”My friend looked baffled. I said, “Don’t you see, you can’t tell whether it’s coming from a novel, a history, a short story, or — in this case — my dissertation.” So that represented my own little rebellion.Q: So it’s fair to say then that you embraced this approach to literature very early on, right within your graduate days. And at the same time appreciated the formality of your literary training.A: Yes. It’s hardly a great sentence, but it is possible to glimpse two things in it. One is a refusal to accept, comfortably, the genre of academic writing, a refusal that has served me in extremely good stead. And the other is an interest in the historical situation of the writer, in this case, who was or was not Ralegh’s friend.That was back in 1968. I did not suddenly wake up a few years ago and think it would be worth trying to write literary criticism for more than a handful of people assigned to read it. I’ve always been interested in that possibility: to write sentences that don’t erect a barrier between scholarship and the common reader.Q: You embraced writing that has clarity.A: God knows I’ve written plenty of opaque sentences. But I think the key point, and it’s true for my teaching as well, is that for me there are no fundamental intellectual differences between what you tell the initiated — your colleagues and graduate students — and what you tell the uninitiated. You have to explain allusions to those who do not know them. You can’t be willfully or needlessly obscure. But the complexity or difficulty of the thought is whatever is required, as it were, by the subject and by your own vision.I don’t have many regrets as a writer. With a particular book of mine, called “Hamlet in Purgatory,” I almost could see my way clear to figuring out how to make what I had to say accessible to a much larger group of people than I reached. The issues involved in “Hamlet in Purgatory” are genuinely powerful ones having to do with the change in the fundamental relationship between the living and the dead. But to my regret, the best way to convey them to a broad public eluded me. In recent years I’ve managed to improve. But from the Ralegh book on I’ve always been interested in that possibility.Q: What about your relationship to Shakespeare? When did he come into your life fully as an academic?A: Probably in the book that I wrote immediately after the Ralegh book. It was called “Renaissance Self-Fashioning,” in which Shakespeare appeared in only one of six chapters. But that chapter, on “Othello,” released a tremendous amount of energy in me. I was able to burrow deep into sixteenth- and early seventeenth-century colonial encounters, theological debates, racial tensions, and sexual anxieties as ways into “Othello.” And I was able at the same time to write something about the actual moment in which I was living, a moment when Berkeley, where I was teaching, was wild, with tear gas and police raids and anti-war protests, secret meetings to reconstitute the university, racial struggles, sexual experiments, and God only knows what else.I felt I had succeeded in doing something that I had not been able to do until this point — to merge my historical and literary interests in the past with the full force of my engagement in the present. Not thinking of them as separate enterprises but thinking of them as the same enterprise. And for me as a teacher, as a writer, as an intellectual, as a lover of literature, as a lover of Shakespeare, that was the goal.The lover of Shakespeare part is not accidental. It was with Shakespeare more than with any of the other figures I had studied that that strange touching together of the wires of the past and the immediate present was possible. That’s what Shakespeare enables as an artist. He grasped what he would have to do for his art to survive. It would have to be sufficiently malleable. It would have to have its roots in the deepest possible way in his world. But it would have to be able to reach out and make itself available to other worlds, including the world of crazy Berkeley in the 1970s.Whatever was good in this book depended on refusing to choose between the past and the present — on making use of every ounce of my energy, passion, conviction, fear, and rage in the present in order to plunge into the past. And likewise, of somehow making use of the past to clarify my relation to the present.Shakespeare has served that way all my life. There’s a certain amount of antiquarian heavy lifting you have to do to be a player in Shakespeare scholarship. But something about Shakespeare’s art is — and I’m not a mystic — very strangely suited to a mystic marriage of the past and the present.Q: That’s a perfect place to end.A: Good!Interview was edited for clarity and length.last_img read more

Cuomo Says Summer School To Be Conducted Through Distance Learning This Year

first_imgImage by Kevin P. Coughlin / Office of Governor Andrew M. Cuomo.ALBANY – New York State Governor Andrew Cuomo announced Thursday that summer school throughout the state will be conducted through distance learning this year. Cuomo says meal programs and child care services for essential employees will continue. In addition, Cuomo says it’s too early to make a determination for schools for the fall semester.The Governor, however, says New York State will issue guidelines in June for schools and colleges to plan ahead. Plans are to be submitted for approval to the state in July. Share:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to email this to a friend (Opens in new window)last_img read more

Lin-Manuel Miranda Plans ‘Scrappy’ In the Heights Movie

first_img from $149.00 Lin-Manuel Miranda Hamilton View Comments Star Files Hamilton creator and headliner Lin-Manuel Miranda has taken Broadway by storm as the hip-hop tuner generates buzz well beyond the Great White Way. In addition to discussing Hamilton’s significance during the upcoming presidential election with The Hollywood Reporter, the Tony winner talked about another highly anticipated project: In the Heights on the big screen.“Now we’re aiming for a scrappy $15 million movie,” Miranda said, adding the new scaled-back approach “is more in keeping with the spirit of the show.” The Broadway multi-tasker also said there is a new screenplay.Miranda credits the turnaround to Universal Pictures’ concern that there was no major Latino star attached to the film. “That’s Hollywood being scared,” explained Miranda, “and that’s everyone there having to answer to somebody else. And one of the things I learned was, the less money that’s involved, the more power you have.”Plans for a film adaptation of In the Heights were first announced when Universal acquired the rights in 2008—the same year the musical opened on Broadway and won five Tony Awards, including Best Musical and Best Score. “At that point,” said Miranda, “the picture was budgeted at around $37 million.” Kenny Ortega, the man behind such movie musicals as Newsies and High School Musical, was set to direct.And as for Hamilton on the big screen? “That conversation’s a ways off,” Miranda said. “It’s not happening anytime soon.” Until then, you can catch the rapping Founding Father on stage at the Richard Rodgers Theatre. Related Showslast_img read more

Community-minded

first_img4-H’ers are three times more likely to contribute to their communities than youths not participating in 4-H, according to a study by Tufts University.The study shows that 4-H’ers thrive through the health and science education and career preparation they receive through 4-H programming. Compared to non-4-H youths, 4-H’ers spend more hours exercising or being physically active. 4-H’ers also have higher educational achievement and higher motivation for future education, reporting better grades and an elevated level of engagement at school.Volunteering in their communitiesThe structured learning, encouragement and adult mentoring that young people receive through 4-H plays a vital role in helping them actively contribute to their communities, the study said. “The findings presented in the Tufts study are evidence that the young people who are involved in 4-H are better equipped to lead more productive and altruistic lives,” said Donald T. Floyd, Jr., president and CEO of National 4-H Council. “Although 4-H has been the largest youth development program in the nation for more than 100 years, many people are unaware of the incredible and uncommon commitment of 4-H’ers to break through obstacles, tackle big problems and make measurable contributions where they live.”Students across the nation surveyedOfficially named the 4-H Study of Positive Youth Development, the Tufts research is an on-going study that started in 2001 with support from the National 4-H Council. Richard Lerner, a youth development scholar, works with researchers at the Institute for Applied Research in Youth Development at Tufts University to conduct the study. Youths are measured in “waves” across time which compared those that participate in 4-H to those that do not. The study is currently in wave seven. The 6,885 adolescents surveyed are racially and geographically diverse, representing 45 states.In Georgia, 4-H’ers are leading issues in their towns, counties and state. Health walks, performing arts and animal savingIn Columbia County, Ga., Ryan Rose’s commitment to learning about heart disease in women led to a community-wide walk and educational program, a school-wide “Wear Red” day and donations to the American Heart Association. Through his 4-H project, Rose learned about heart disease and sought to teach others. From middle school 4-H meetings to links on his high school’s website, Rose worked to involve his community in understanding and working to prevent heart disease in women in his county.Mary Allison Lathem combines her love for performing with helping children in Covington, Ga. She formed a community performing arts club and offered programs for at-risk youths visiting the Washington Street Community Center. Thirty-five children in the community center’s after-school program now meet weekly to explore dance, music, acting, puppetry and costuming. Lathem’s efforts and community connections led to club members attending performances of the Nutcracker and the Wizard of Oz, the first live performances most of the students had seen. Local teachers say students in the performing arts club have improved performance and the director of the county’s after-school programs uses the program as a model for all after-school programs to incorporate performing arts.In Georgia, 62 percent of animals in shelters are euthanized each year. After learning that her hometown has an even higher rate, Putnam County 4-H’er Eryn Parker sought to find a solution. Partnering with Petfinders, a national website, Parker photographed animals and posted descriptions to help find the strays new homes. She linked the information to the Putnam County Animal Control Facebook page and posted flyers in the community. With the help of her fellow 4-H’ers, Parker’s work increased the adoption rate of animals from Putnam County Animal Control by 42 percent.The Georgia 4-H program is carried out by University of Georgia staff in counties across the state. To connect with your local 4-H program, call 1-800-ASK-UGA1 or visit the website georgia4h.org.last_img read more

IEA: Global renewable energy capacity will climb by 200GW in 2020, more in 2021

first_img FacebookTwitterLinkedInEmailPrint分享The Guardian:Global renewable electricity installation will hit a record level in 2020, according to the International Energy Agency, in sharp contrast with the declines caused by the coronavirus pandemic in the fossil fuel sectors.The IEA report published on Tuesday says almost 90% of new electricity generation in 2020 will be renewable, with just 10% powered by gas and coal. The trend puts green electricity on track to become the largest power source in 2025, displacing coal, which has dominated for the past 50 years.Growing acceptance of the need to tackle the climate crisis by cutting carbon emissions has made renewable energy increasingly attractive to investors. The IEA reports that shares in renewable equipment makers and project developers have outperformed most major stock market indices and that the value of shares in solar companies has more than doubled since December 2019.“Renewable power is defying the difficulties caused by the pandemic, showing robust growth while others fuels struggle,” said Fatih Birol, the IEA’s executive director. “The resilience and positive prospects of the sector are clearly reflected by continued strong appetite from investors. Fossil fuels have had a turbulent time in 2020 as Covid-related measures caused demand from transport and other sectors to plunge.“In 2025, renewables are set to become the largest source of electricity generation worldwide, ending coal’s five decades as the top power provider,” Birol said. “By that time, renewables are expected to supply one-third of the world’s electricity.”The IEA forecasts that new renewable capacity around the world will increase by a record 200 gigawatts in 2020, driven by China and the US where developers are rushing to take advantage of expiring incentive schemes. There is even stronger growth to come in 2021, the IEA said, when India and the European Union will be the driving forces. But growth could decline slightly in 2022 under current policies, the IEA warned.[Damian Carrington]More: International Energy Agency expects green electricity to end coal’s 50-year reign by 2025 IEA: Global renewable energy capacity will climb by 200GW in 2020, more in 2021last_img read more

Remodeled Bethpage Colonial Asks $639,000

first_imgSign up for our COVID-19 newsletter to stay up-to-date on the latest coronavirus news throughout New York This recently remodeled, potential mother/daughter Colonial conveniently located within walking distance of nearby shops and restaurants is a must-see property listed for sale at 82 Sherman Ave. in Bethpage.Built in 1938, this four-bedroom home has two bathrooms, two half bathrooms and two eat-in kitchens. Upgrades were made within the past two years to the fully finished basement, kitchens and bedrooms and the roof was replaced four years ago.The house comes equipped with two living rooms, central air conditioning, a patio and fenced-in backyard.The property is located eight blocks from downtown Bethpage, several local parks and the Bethpage Long Island Rail Road station. It’s less than a mile from the Seaford-Oyster Bay Expressway. And it’s within the award-winning Bethpage School District.The asking price is $639,000, not including the annual property taxes of $10,786.The real estate agent listed for the property is Donna Lee Hickey of Century 21 Catapano Homes. She can be reached at 516-938-0021.last_img read more

Aquebogue Man Convicted of Fatal DWI Crash

first_imgSign up for our COVID-19 newsletter to stay up-to-date on the latest coronavirus news throughout New York An Aquebogue man has been convicted of driving drunk and causing a crash that killed a 56-year-old Middle Island woman who was delivering newspapers in Hampton Bays last year.A Suffolk County jury found Joseph Perez guilty Tuesday of vehicular homicide and vehicular manslaughter.Authorities have said that the 31-year-old man was driving his Ford pickup truck westbound on Montauk Highway when he crashed into a parked car and then the victim’s car in January 2014.The victim, Donna Sartori, was pronounced dead at the scene.Perez is scheduled to be sentenced June 25 before Judge Fernando Comacho.last_img read more

Sea Star Festival nominated for the best European festival

first_imgThe Sea Star Festival was nominated for the best European festival, and it is also a record eighth nomination for Exit festivals.This year’s Sea Star Festival, with its second edition, along with improved production, delighted both fans of top entertainment and the performers themselves, who enjoyed Umag during May.And the fact that the Croatian member of the EXIT festival family won the nomination for the “festival Oscars” this year speaks for itself. European Festival Awards (EFA) are considered one of the most prestigious awards in the festival industry, and Sea Star has once again been nominated in the category of best festival for up to 40.000 visitors a day.The current holder of the title for the best major European festival, EXIT, previously won the grand prix award for 2013, while Exit’s Sea Dance Festival, which takes place in Montenegro, won the award for the best festival for up to 40.000 visitors in 2014, and this year alone Exit festivals have a total of eight nominations at the upcoming European Festival Awards.This year’s nomination for Sea Star has already repeated the success from last year, when the festival, after its premiere, was nominated in the same category, but also in the category of the best new festival. In addition to Sea Star, two other festivals organized by the EXIT team, Budva’s Sea Dance, Romania’s Revolution, and Georgia’s Echowaves, which is supported by the EXIT team, are competing for the “Best Festival of up to 40.000 visitors a day” award.Echowaves was also nominated for the best new festival, which means that in competition with the Bosnian Festival 84, which, after the first edition of the festival, won three nominations, in the categories for best new festival, best festival up to 10.000 visitors a day, as well as best indoor festival. EXIT, as the winner of the grand prix award, according to the propositions of the competition this year must pause and give a chance to other festivals to win the title, and will participate in EFA in at least two special categories, “Take a Stand” for social activism and “Brand Activation Award” , for the best corporate activation at the festival.Sea Star is fighting for the title with other European festivals such as Sea Dance, Revolution, Echowaves, Balaton, Electric Castle, Melt and others, and with the votes of an expert jury made up of prominent individuals in the music industry, audience voices around the world will decide final placement of this year’s candidates. Voting for the European Festival Awards began on Thursday and will run until November 30, and the winners will be announced at the award ceremony in Groningen, the Netherlands on January 16, 2019.In addition to two consecutive nominations at the European Festival Awards, Sea Star is last year’s winner of the Capra D’Oro Award given by the Istria County Tourist Board for its contribution to the promotion of Istria, as well as the Ambassador Award for Best New Festival in 2017.RELATED NEWS:BLUE LAGOON LONG AGO UNDERSTANDS THAT THE MOTIVE OF ARRIVAL IS NOT ACCOMMODATION, BUT THE CONTENT IN THE DESTINATIONSEA STAR FESTIVAL GENERATES MORE THAN 60 MILLION HRK TOURIST CONSUMPTIONlast_img read more