“The Booker Prize winner is developing Next People, a fictional story which dissects the ‘radical pace of transformation in contemporary American life – from politics and race to technology, science and sexuality.” The series will air on the Showtime network.
Tag: 03.12.11
Arsht Center All Over Again? After Two Decades, South Miami-Dade Arts Center Finally Finished
“After 19 years of planning and development – and $51 million from county tourism and other taxes – the South Miami-Dade Cultural Arts Center in Cutler Bay is gearing up to open its doors in April.”
Ballet to Sarah McLachlan Songs Makes Sarah McLachlan Cry
The singer-songwriter visited the Alberta Ballet’s studios to check out Fumbling Towards Ecstasy, the work that company director Jean Grand-Maître is creating to her songs. “I was trying to hold back my tears,” she said afterward, “it was just so emotional.”
‘Disembodied Performance’: Tod Machover’s Newest High-Tech Opera Concept
“His latest futuristic opus, Death and the Powers, is a 90-minute one-act opera … that requires its star, baritone James Maddalena, to act out almost the entire program out of sight or earshot of the audience – even while a high-tech translation of his performance appears on the stage.”
Danny Stiles, 87, New York Radio’s ‘Vicar of Vintage Vinyl’
“[He] unearthed gems from his collection of 200,000 or so recordings going back to the big band era of the 1930s and sometimes the Roaring Twenties. His personal odyssey took him through more than 20 radio stations, stacks of sometimes scratchy 78 r.p.m. records and countless standards from” five decades of American popular song.
A Four-Year-Old’s Account of the Afterlife Tops Non-Fiction Bestseller Lists
Heaven Is for Real, an account of a young boy’s vision of (Christian) heaven while undergoing emergency surgery, “has become a sleeper paperback hit of the winter, dominating best-seller lists and selling hundreds of thousands of copies.”
Charleston’s History Museums Are Finally Facing City’s Slaveholding Past
“Of course, in the North slavery can seem like a distant abstraction, creating its own problems. But in Charleston all abstractions are gone. The strange thing is how long it has taken to see the substance, and how much more is yet to be shown. … [Until] the 1990s, slavery’s role was generally met with silence.”