Leonard Cohen’s son says that even talking about his father’s process of writing feels like an invasion. “My father was very interested in preserving the magic of his process. And moreover, not demystifying it. Speaking of any of this … is a transgression,” Adam Cohen says. But a final book of poems “is what he was staying alive for.”
Really, Metropolitan Opera and New York Phil, is this your updated classical music marketing?
In far-right governed Austria, the Steirischer Herbst “appointed its first non-German-speaking director and is now redefining itself as an international art event. The Russian-born curator Ekaterina Degot, working with a collective of other exhibition makers, has used the historically loaded title ‘Volksfronten’ (People’s Fronts) for an exploration by more than 40 artists of what she describes in her catalog introduction as today’s ‘alarming déjà vus of the 1930s.'”
Mark Rylance uses, and abuses, several handkerchiefs (not just that one) as Iago, and it’s all part of revealing the villain.
In Scotland, of course. “Scotland has an incredible wealth of working-class writers, thanks to a strong community and tradition of support from established authors.” But really, there are English, Welsh, and Northern Irish working-class writers as well, but the working-class writers and their publishers need to see interest from the public.
A Pay Equity Summit was billed as “the first step” in getting women pay equity with men. One of the craft guilds “published a study this year arguing that female-dominated crafts are often paid less than male-dominated jobs of similar responsibility level. The study equated women-dominated jobs like script supervisors to male-dominated jobs like assistant directors.”
The board of governors of the Academy of Motion Picture Arts and Sciences “left intact Rule Two, the one that established that a film” — in...
