Henry Kissinger at 100: Still a War Criminal | Mother Jones
Throughout his career in government and politics, Kissinger was an unprincipled schemer who engaged in multiple acts of skullduggery.
No Air
This lot used to be an auto repair shop. Visible from almost any direction was a sign reading NO AIR, just in case any deflated motorists or cyclists on Smith Street had ideas about filling up there. The garage burned down years ago, so I’m not sure whatever is going up constitutes gentrification, but given the state of things in that part of the neighborhood, I imagine it will be expensive and therefore exclusive, which is what we usually mean when we say “gentrified.”
The Colorado River Is Shrinking. See What’s Using All the Water. | The New York Times
The majority of the water in the Colorado River basin — more than one trillion gallons — is used to grow feed for livestock, connecting the region’s water crisis to how much dairy and meat we eat.
Students of music have to understand that when they are playing, somebody is hearing. If there is nobody there, well, G-d is hearing you then.
- Dafnis Prieto, quoted in Being Here: Conversations on Creating Music
Why Do We Listen to Sad Songs? | The New York Times
This is the paradox of sad music: We generally don’t enjoy being sad in real life, but we do enjoy art that makes us feel that way.
A Few Thoughts on Quentin Tarantino’s Plan to Retire | The New Yorker
Soderbergh knows one big thing, the cinema itself; for him, cinema is everywhere, and it speaks through him no matter what he does. Tarantino has a huge toy chest of knowledge and enthusiasm, an amazing collection of movies from the history of cinema stocked up in his mind; he gives their multiplicity the unity of his voice, his personality, his public image, and he is, so to speak, their delegate, their representative. Soderbergh has an idea of cinema; Tarantino has ideas about individual movies, which is why each one that he makes counts, why each matters so desperately. Soderbergh risks insignificance, merely vanishing; Tarantino risks the illusion of significance, being a nuisance. Soderbergh escaped from Hollywood in order to evade its limitations; Tarantino’s planned escape seems meant to evade his own. The very fear of risk, the sense of pride and even vanity with which he protects his name, could stand as the ultimate form of self-criticism.
I’ve never liked Taratino’s films very much but his stature at the end of 20th century cinema is great, and that time, from roughly 1985–2000 as far as I can tell, was more or less the end of cinema as we knew it, a material art, a physical process, an international conceit, high culture in spite of its commercial interests. Brody’s exposition of Soderbergh rings entirely true for me, as does his reading of Tarantino.
Fate has problems.
— Hollis Frampton
A Record A Day 2023: April
I’m falling further and further behind as the year goes on but am still posting what gets played. My hope is that I’ll catch up during holidays or something. I’m currently 26 plays short for the year, approximately 5 plays per month. Such calculations don’t help much, though. In any case, you can find the available April plays here on Apple Music. Enjoy!