Changing COVID-19 health advice, barriers to testing and isolating are disadvantaging Aboriginal Territorians, say peak bodies – ABC News

Many Indigenous Territorians arefinding it increasingly difficult to isolate andkeep up with the frequent changes toCOVID-19 health advice, say leaders of Aboriginal peak bodies.

John Paterson, chief executive of the Aboriginal Medical Services Alliance NT (AMSANT), said the "consistent changing of the different measures [and] different restrictions" was "really confusing".

"That model won't work here in the Northern Territory in our remote communities," he said.

"When we've got large populations residing in dwellings with 20+ people,you can't isolate and you can't do all of those other public health measures."

To overcome this barrier, he suggested the Commonwealth or NT governments set up Defence Force-styleisolation facilities in overcrowdedcommunities.

"If there's overcrowding in communities we need to get a team out there to assess whether it is viable to erect one of these huge defence [tents] these temporary isolation facilities," he said.

Mr Paterson said he also wanted more clinicians on the ground assessing and treating coronavirus patients in remote areas.

"Weneed help, and if we don't get help we're going to have a dire situation probably have deaths on our hands and we don't want to see that happening," he said.

The low-vaccinatedcommunity of Utopia in Central Australia entered a seven-day lockdown on Saturday after recording 22 coronavirus cases.

A further two cases were recorded on Sunday.

Michael Gravener, CEO of the local Urapuntja Aboriginal Corporation, said he was worried potential flooding ofkey roads would blockaccess to food and medicine during the lockdown.

"Our biggest concern is, in a few days if there's no back-up plan for things like if we can't access those homelands because of the weather, we've got the perfect storm here," hesaid.

"With more and more consistent rainfall, we could have serious issues getting in and out."

He said the NT government should have a "helicopter on stand-by for food drops if need be, and medicines for people".

"We've got the food, and the store's got the food, but the issue is with distributing it," he said.

Mr Gravener agreed"communication was a serious problem", sayinghe had no idea the homelands in Utopia wereentering lockdown until it was announced in Saturday'spress conference.

"A lot of people are really poor here, so to expect them to live in isolation in some of the housing conditions they live in, is a big ask," he said.

Hesaid he supported Mr Paterson's suggestion of setting up mobile isolation facilities, "even if it's a big tent system where you've got a fan and lots of airflow".

Another hurdlefacingsome Territorians is easy access to COVID-19 testing.

On Sunday, 212 new coronavirus cases were recorded in the NT overnight.

But Scott McIntyre, CEO of Thamarrurr Development Corporation, said people sleeping rough had found it difficult to get tested for the virus.

"There's no way for them to get to East Arm [testing clinic]," he said.

"We have had people catching taxis tothe testing clinic, spending over $100 in a taxi just to get there and get tested so they can get home.

"Some of those people in taxis are being turned away, and told there's too many people in the car. Some people have gone through to get RAT tests and been given PCRs."

Mr McIntyre saidthe corporation helpedabout 30 people from Wadeye in the West Daly region on Friday who were unable to get tested for coronavirusbefore they were due to travel.

"We found nine positive cases in that cohort," he said.

Mr McIntyre said the regular changes to COVID-19 health messaginghad made it difficult for some Territorians to keep up, especially if English wasn't their first language.

"It's not accessible to them from a language perspective, a world view perspective and the whole system is set up in a way that is really difficult for them to navigate," he said.

Speaking at a press conference on Saturday, Health Minister Natasha Fyles said the government was willing to help improve access tocoronavirus testing.

"We're willing to work with those remote communities that have organisations that represent them, to try and ensure that there is a supply," she said.

"But we need to make sure that we keep our RAT tests for the clinical guidelines that our health officials have advised us."

The NT government said NT Health will continue to post regular coronavirus updates on its social media channels, including information about who needs to isolate and get tested.

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Changing COVID-19 health advice, barriers to testing and isolating are disadvantaging Aboriginal Territorians, say peak bodies - ABC News

From dystopia to utopia: How UK co-working spaces are redefining the new normal – UKTN (UK Technology News

The pandemic suddenly forced millions of workers out of the offices to work from home. Before the pandemic, flexible-office companies like WeWork made up a growing sliver of real estate 2.3% of leasable space in the US as of the first quarter of 2020, according to JLL research, and the sector has grown an average of 23% per year since 2010.

Now, insiders predict a short-term pinch for the industry, as employees fear returning to people filled floors and as some of the small businesses that relied on these spaces have reduced their headcount. Addressing these concerns will be of paramount importance for co-working space providers.

Addressing the elephant in the room

Given the current situation, anyone is bound to think twice before deciding to work out of a co-working space. Addressing these concerns that weigh down on everyones mind will be critical for co-working space providers such as Spacemade and WeWork. How will the companies make sure that users are comfortable enough to return back to coworking spaces?

To make this happen, Jonathan Rosenblatt, co-founder and co-CEO at Spacemade notes that establishing trust is of paramount importance. Businesses dont want to think about building compliance, air quality, sanitisers, extra cleaning and more, but they do want all of that to be taken care of. Thus, the trust rests with flexible workspace operators.

Spacemade is a first-of-its-kind operational partner for landlords looking to provide a bespoke flexible workspace offer directly to their customers. The group has over 100,000 sq ft of flexible office space under operation in London, Leeds and Bristol. The business was founded by Jonny Rosenblatt and Dan Silverman. Recently, the startup also bagged 1 million funding to grow its flexible workspaces in the UK.

WeWork, the most controversial name in this space, failed to become public, last year and got battered hard. Industry experts believed that it was time for the co-working player to make peace with the sunset, but a year and a pandemic later, the office-sharing firm is still standing strong.

UKTN also had a chat with Mathieu Proust, General Manager from WeWork UK and he emphasises how the company is working really hard to make sure their spaces are as safe as possible. The company has invested heavily in doubling up on sanitisation, installing HVAC systems for constant air filtration and regularly sanitising frequently used elements like door handles and lifts.

Additionally, it even changed the layout for some of its offices to enable a roomier environment and to shape users behaviour within a space. WeWork also obtained third-party certification from Bureau Veritas, which ensures that they are actually living up to the high standards of sanitisation.

Overall, establishing trust with consumers, having mitigations in place and delivering on promises of sanitising their spaces will be crucial for coworking spaces to thrive again.

Moving towards the flexible new normal

Both WeWork and Spacemade have numerous buildings available across London. While some of their spaces follow the modern dynamic workspaces landscape, others are collaboration hubs. These hubs are geared towards enabling idea exchanges with no traditional desk or chairs layout and a lot of whiteboards.

WeWork also recently launched All Access, which is its monthly membership. It is different from its standard subscription as one receives their badge, which grants access to any of the companys buildings around the world. Essentially, it makes the entire city your campus. One can open the app and decide if they dont want to work in the same location as yesterday. If they have a client meeting in Victoria, for example, they can work in a location nearby, Proust explains.

WeWorks Growth Campus

WeWork also recently announced an allocation of 15 million for subsiding rents for struggling SMEs. Additionally, in London and other cities, it will provide free mentoring and education opportunities to help SMEs recover.

It is no surprise that the work from home scenario has changed our lives forever. However, it is something that will be difficult to support indefinitely because it hampers collaboration and in turn, innovation. For smaller and even medium-sized companies, collaboration serves as an important tool to fuel innovation. WeWork aims to deliver it through Growth Campus.

Additionally, Growth Campus will also enable a new generation of entrepreneurs to come into the limelight. Proust calls them the COVID generation of entrepreneurs, which is something WeWork wants to be a part of. In the UK, specifically, we witnessed the rise of new entrepreneurs. Last year, new business formations stood at 13% and thats why we created Growth Campus, to do our part and give something back to the SMEs and the entrepreneurial attitude, Proust adds.

WeWork will consider any company under the new program if their employee headcount is below 20 and if they have a vision to scale within the UK or internationally.

Changes for co-working spaces in a post-pandemic world

Rosenblatt predicts that in a post-pandemic world, where almost everything is changing, the short-term outlook will be highly competitive. This is expected to create notably attractive pricing propositions for the customers. If this turns out to be true, it will be good news for end customers as it makes returning to the office even more attractive.

Talking about mid-to-long term changes, he says there will be a pretty seismic shift to a more flexible and hybrid work approach as flexibility also means one can repurpose their office. Flexibility is key and we see most businesses moving towards using space on demand with requirements such as different spaces for different uses throughout the week. This can be difficult for businesses to deliver without professional support from specialist co-working providers, Rosenblatt adds.

The future for coworking spaces

It can be difficult to accurately predict whats going to happen next in any sector at the moment. However, Proust opines that the future for co-working spaces is all about flexibility.

Proust notes, Now that places are reopening, were going back to a new normal. But what is the new normal? This could look something like enabling members to choose how many days they want to work and what can we set up for them. Do they want an exciting office? And those are the kind of problems we are solving.

Rosenblatts thoughts align similarly as well. He says, The question we need to ask is; if youre a team of 10, on the days that youre in the office, would you rather have a small leased space with no amenity, or would you rather have access to thousands of sq ft of the hospitality-driven workspace where you can be surrounded by new people to interact with?

New coworking spaces in the works

For current and future plans, Both WeWork and Spacemade are opening more co-working spaces across London and the UK. SpaceMade recently launched a new space, Neighbourhood Works at London Fields a few weeks ago and many new spaces are said to be in the pipeline.

As for WeWork, it recently opened up a new space in Shoreditch. It is also in the process of curating new workplaces all around the UK.

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From dystopia to utopia: How UK co-working spaces are redefining the new normal - UKTN (UK Technology News

Broadway Baby: Michael Kors on 50 Years of Opening Nights, Diva Crushes and a Dream Revival – WWD

Michael Kors love of theater is a close second to his love of fashion.

He has been to hundreds, probably thousands, of live performances over the past 50-plus years, starting at age five, and has been deeply concerned about the shutdown of Broadway, which he calls the beating heart of New York, and how it has impacted some 87,000 jobs.

Our office is close to the Theater District so we feel part of the community, said Kors, who dedicated his 40th anniversary runway show to Broadway, including making a donation to nonprofit The Actors Fund. When people hear The Actors Fund they think actors, and its for them but also to support the entire army of talent behind the scenes that brings a show to light.We dont want this pool of talent to disappear.

While Kors has been trying to get his fix by streaming theater during quarantine, its not the same, he said. Recently, as New Yorks COVID-19 restrictions have eased, he was able to see Rufus Wainwright perform live as part of an audience of 40. I felt like someone had reconnected a body part that was missing, he said of the thrill, which he is sharing with viewers of his 40th collection film Tuesday, featuring Wainwright and appearances by a cavalcade of Broadway legends, including Chita Rivera and Billy Porter.

As a curtain raiser, WWD dished with the designer about his favorite opening nights, diva crushes, the show hed like to revive and design costumes for.

WWD: What was your first Broadway show?

Michael Kors: Ethel Merman in Annie Get Your Gun. Of course, I was five, so I had no way to know this was not the norm. My mom never took me to see the clunkers. To see Hair, she had to lie to my father and tell him we were going shopping. He thought it was not a good show for an 11-year-old.

WWD: Mine was Annie, and one of my classmates was an orphan, so we were all so jealous.

M.K.: Thats big.

WWD: Who are the divas youll always love? Besides Bette, because thats a given.

M.K.: When I was working at Lothars the hottest ticket was seeing Patti LuPone doing Evita, and you literally felt like you were blown out of your seat backward. Bernadette Peters Sunday in the Park With George, when the first act was finished, I had tears rolling down my face. Anyone who is in the creative world, that show knocks you out. And her voice broke my heart. Angela Lansbury in Sweeney Todd. How did Stephen Sondheim even conceptualize we were going to sit through a show about a mass murderer and find it entertaining? Watching Audra McDonald do Billie Holiday on the stage by herself in Lady Day at Emersons Bar & Grill, you are so riveted. Anything Goes is one of my favorites. When Sutton Foster finished the big tap number, and the audience is feeding off the energy on stage and each other, you cant recapture that on Zoom, streaming or film.

WWD:Did you see Starlight Express with the roller skaters? I loved that.

M.K.: [My husband] Lances first show was Starlight Express, it was Audra McDonalds first show, and Jane Krakowski was in Starlight Express. We were all at a dinner and they looked at me and said, You didnt go see it? I said No, roller skating was not meant to happen on Broadway.

WWD: What about Glenn Close in Sunset Boulevard? That was a moment.

M.K.: We saw it with Glenn, with Betty Buckley, then we saw it in London with Rita Moreno, and Rita let me go onto the stage and got them to press the hydraulic lift, so I got to experience walking down the staircase when it was moving.

Actress Glenn Close in Sunset Boulevard in New York, 2017.Greg Allen/Invision/AP

WWD: Thats big. Craziest experience in the seats?

M.K.: Opening night of revival of Hedwig and the Angry Inch, we sat down and the person in front of us was dressed all in white with an enormous picture hat on. Even though she was very fabulous from behind and I loved what she was wearing, I kept thinking she was going to ruin the show for me, so I leaned over to say something and realized it was Yoko Ono.

WWD: When I went to see Slave Play, they held the show 25 minutes because Rihanna was late.

M.K.: Did she get a standing ovation?

WWD: Oh no.

M.K.: At Lincoln Center for a celebration for Sondheims 80th birthday, we got there just as the lights were going down, and realized Sondheim was sitting directly across from us. I was knocked out being that close to him as he was experiencing all his work.

WWD: Soundtrack you listen to on repeat?

M.K.: A Chorus Line. I know every word, and I use some of the lyrics in life. All of them are taken from the recordings of the dancers, so they are often the perfect comeback or thought.

Lena Hall and Neil Patrick Harris on opening Night of Hedwig and the Angry Inch, 2014.McMullan/Sipa USA

WWD: Best song in A Chorus Line?

M.K.: I love the song, I Can Do That. In life, even if you think you cant, you figure it out. If you said to me, after 40 years what have you learned, its this: Know that things change thats the point and you have to say, I can do that. When I told them I didnt want to do Project Runway, then they said you are a critic at Parsons, you work with students at FIT, I said, I can do that.

WWD: And you did. Worst Broadway behavior youve witnessed? I remember seeing M Butterfly, and at the pivotal moment right before the characters identity is revealed, someone in front of me blurted it out.

M.K.: Thats terrible. We were in the theater the night Patti LuPone stopped the show because someone was using their cell phone. Watching her admonish that man was something. The night we saw Bruce Springsteen on Broadway, his fans were so rabid and started screaming Bruce, Bruce, Bruce and he very gentlemanly said, There will be a moment for that later. And later he let everyone take out their phones, cheer and take photos. The audience is not used to unplugging. Its the same with fashion shows, which people are now often watching through their phones. Backstage in the 80s, I didnt even have a monitor, I had a peep hole.

WWD: Do you remember the before times when you couldnt bring drinks and snacks to your theater seats? Are you team seat snacks or no?

M.K.: Never, ever. Intermission only. Give me a vodka on the rocks at the bar at Sardis during intermission and I run back in time for the second act.

WWD: Last show you saw before the COVID-19 shutdown?

M.K.: David Byrnes American Utopia. If it had to be my last memory, it was a spectacular one. And I dont want to sound like a shallow fashion person but that show was so chic. Chic! Chic! Chic! Everything about it.

David Byrne on opening night of American Utopia in New York, 2020.Greg Allen/Invision/AP

WWD: Fashion-wise, any other shows that have echoed with you?

M.K.: I remember seeing Lauren Bacall in Applause when I was young. It was so big city glamorous. Sign me up for black sequins for days.

WWD:Have you done costumes for Broadway?

M.K.: Not Broadway, but when I was designing Celine in Paris, I got a call from costume designer Arianne Phillips, she was working on the play Up for Grabs in London. She said, well, Madonna is starring, she plays a very powerful art dealer, and I thought the clothes you showed for Celine would be perfect for her character, who is very successful but not the nicest person the world. So she wore a lot of Celine.

WWD: You should do a Broadway show.

M.K.: Id love to redo A Chorus Line.

WWD:What are you excited to see after Broadway reopens? Ahem, Game of Thrones?

M.K.: To be honest with you, we will be so excited well go to things we dont even care about. I will go to a musical version of Designing Women.

WWD: Thats a great idea, you should produce that.

A Chorus Line, 1987.AP Photo

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Broadway Baby: Michael Kors on 50 Years of Opening Nights, Diva Crushes and a Dream Revival - WWD

Offspring’s first new album in nine years, 5 Things to Know – The Oakland Press

These are good times for the Offspring -- even if the California punk group's new album is called "Let the Bad Times Roll."

It's actually been nine years since the quartet's last studio album, albeit with an EP and some singles in between. "Bad Times," due out Friday, April 16, was recorded over the course of that interim with producer Bob Rock, and was previewed during 2015 with the single "Coming For You."

In addition to the album, the Offspring has launched a new video series, "How To: With the Offspring," which will share "a vast amount of useful knowledge -- starting with an episode in which frontman Bryan "Dexter" Holland and guitarist Kevin "Noodles" Wasserman teach viewers how to surf...

Despite the long gap between albums Noodles says the Offspring was never concerned about getting "Let the Bad Times Roll" finished and out. "We always knew we were gonna get to it eventually. It might seem like a saga from an outsider's standpoint, but it's really just something we've been working on when we're not touring, or when one of us (Holland) isn't working on his Ph. D. There's a lot of reasons why it took this long to get it done, but honestly the majority of this record, and I think some of the better parts of this record, came together in the last couple years. We just had a real creative time, and things started clicking."

The official music video for The Offsprings Let The Bad Times Roll.

Get the new song and pre-save the upcoming album LET THE BAD TIMES ROLL now at https://found.ee/OffspringBadTimesRoll

While "Bad Times" is not a concept record, Noodles says the title and title track, as well as songs such as "This is Not Utopia," were inspired by recent and current events. "It's kind of look at where we find ourselves in the world right now. Our country just went through four crazy years, politically and societally, and it's not over. We're still going through it. Then throw a pandemic on top of that. Things haven't changed that much in nice years since (the Offspring's last album). There's still plenty of (bad stuff) going on in the world that makes people go, 'Omigod!'"

"Bad Times" includes a stripped-down, acoustic version of the Offspring's 1997 single "Gone Away," an arrangement that's been part of the band's live set in recent years. "It really works live. We thought, 'Let's strip it down a little bit. Let's purify it, keep it to its simplest emotions.' It's really a dramatic moment in the show, and our fans really took to it. They've been asking, 'When can we get a studio version?' and eventually we thought, 'OK, we should try it. It's a great idea. Let's dee if we can pull it off,' and this is the result."

Noodles says the "How To" video series is "something that's just fun for us to do when we can't go out and play shows. We don't take it that seriously; It's like, 'Yeah, I know a little something about this...' Some of them are going to be more serious than others, but we want it short, sweet and easily digestible, but also something we know the fans are gonna dig."

With plans to tour the U.K. during November pending, the Offspring is using videos and interviews to promote "Bad Times'" release. Meanwhile the band is continuing to work on material with hopes that it won't take as long to release its next album. "There are some songs that we were working on that we can't put all the pieces together yet. You don't just trash 'em. We probably have four or five songs I want to say are done or close to done for the next record. Right now we're just focusing on getting this record out and touring some, but the next record is also in the back of our heads. We're definitely thinking about that."

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Offspring's first new album in nine years, 5 Things to Know - The Oakland Press

OPPO’s O-Tower Connects Ground to Sky in a Continuous Loop of Collaboration – Greenroofs.com

Camilla Borggaard, Head of Communications of BIG-Bjarke Ingels Group writes:

BIG Bjarke Ingels Groups design for the new OPPO R&D Headquarters will exemplify the OPPO design philosophy of pursuing the perfect balance between refined aesthetics and innovative technology, in a building that will be environmentally, economically, and socially sustainable a responsible citizen and iconic gateway to Hangzhous Future Sci-Tech City.

Founded in 2004, OPPO has grown over a short period of time to become Chinas largest smartphone company. The setting of OPPOs new R&D Headquarters in Hangzhous Future Sci-Tech City represents a commitment to the brands spirit of endless innovation in the pursuit of perfection. Hangzhou, colloquially know as Heaven on Earth, is not just a hub for innovation, but is also home to Chinas most popular natural attractions including three of the worlds 57 UNESCO Heritage sites. The city has been shaped by a rich cultural history of technology, information exchange and trade for over 5,000 years as one of the origin sites of the Silk Road and Grand Canal.

BIG began working with the leading global smart device brand at the beginning of 2019 to create an R&D Headquarters and Masterplan. The design expresses OPPOs mission of the elevation of life through technological artistry, with an overarching vision of being a sustainable company that contributes to a better world.

Technology at its best should be a seamless extension of life. The new OPPO R&D Headquarters embodies this notion, sitting with ease in the scenic wetlands of Hangzhou, while negotiating between the dense urban fabric on one side and the natural landscape on the other. It will be an architectural manifestation of an OPPO product: effortlessly elegant, while elevating the quality of human life in the city, said Brian Yang, Partner, BIG Bjarke Ingels Group

Image by IMIGO and BIG-Bjarke Ingels Group

Prominently located in the heart of Yuhang District, Hangzhou, OPPO R&D Headquarters rests between a natural lake, an urban center, and a 10,000 square-meter park. As an anchor point along a major access road stretching east to west from Hangzhou, the OPPO R&D Headquarters Tower will be an iconic landmark and gateway to the Future Sci-Tech City and Hangzhou itself.

Image by BIG-Bjarke Ingels Group

Through this project, Hangzhou will become one of the most important centers of research and development for OPPO in China. The iconic expression of the landmark O-Tower designed by BIG is perfectly complemented and enhanced by Yuhangs beautiful and pleasant natural waterbody and wetland landscape. Looking forward into the future, we believe through our collaboration, OPPOs Global Mobile Terminal R&D Headquarters will not only be a perfect representation of OPPOs brand identity and culture, but will also become the most iconic landmark in Yuhang, Hangzhou. This will precisely represent the keystone in OPPOs hundred-year-plan, said Jin Le Qin SVP of OPPO

The needs of contemporary tech companies frequently put them in a position to choose between ideal deep and flexible floor plates to support creative and dynamic workspaces, and shallow floor plates that provide optimal work environments including access to daylight and views that benefit employee well-being and productivity.

The new OPPO R&D Headquarters, or O-Tower, resolves these competing requirements by translating a traditional office slab with the perfect depth for access to daylight into a cylindrical courtyard building that is compact yet also providing large, contiguous floor area. Pushing down the southern edge of the building to the ground minimizes the external surface area of the more solar exposed faade while maximizing views out from the inward faade, which is in turn self-shaded from solar gain by the geometry of the tower. The massing is a manifestation of a building form optimized to reduce energy use and maximize access to natural light.

Image by BIG-Bjarke Ingels Group

A series of triple-height void spaces and interconnected terraces under the sloping O roof surface will provide visual and physical connectivity between floors, and the opportunity to introduce biophilic social spaces and shortcuts for all OPPO staff. These spaces will bring human interaction out to the facades, where staff can enjoy views out while populating and activating the skyline of the city.

Image by BIG-Bjarke Ingels Group

Image by BIG-Bjarke Ingels Group

Wrapped with adaptive faade louvers that are oriented according to sun angles and building geometry to minimize solar gain, the faade will become a fingerprint for the building, with a specific imprint that exists only for the O-Tower, and only in Hangzhou. The fingerprint faade will reduce solar gain by up to 52%, providing significant savings for cooling loads and better thermal comfort for OPPO staff, while at the same time reducing glare, reflectivity and light pollution.

Image by BIG-Bjarke Ingels Group

At the heart of the O-Tower, a publicly accessible courtyard will become an urban living room for the city. The mineral hardscape at its center transforms into a green and lush landscape at the periphery as it extends out to the waterfront. This urban oasis provides fresh air, retains water, and supports a biodiverse public realm connected to the daily life of the city.

Image by BIG-Bjarke Ingels Group

We have attempted to imagine the future work environment of OPPO to be sustainable on a triple bottom line: economically, ecologically and socially. The compact form folding in on itself provides large flexible floorplates with the daylight access and fresh air of a slender tower. The adaptive louvered faade omits incoming solar glare and thermal heat gain, enhancing the passive performance of the building. The tilted loop of the warped roof creates a social shortcut for the OPPO employees and their collaborators connecting the ground to the summit. And the central oasis and the surrounding wetland park expands the public realm into the heart of the complex. Each element is intrinsically intertwined forming the melted loop that is perceivable at all scales from the urban landmark to the human experiencebecoming a manifestation of the design simplicity that is an intrinsic part of OPPOs brand, said Bjarke Ingels, Founder and Creative Director, BIG Bjarke Ingels Group

The ground floor of the O-Tower will be open with an interconnected public space that seamlessly leads visitors and staff through lobbies, exhibition spaces, or out to the park. The first three floors will be reserved for public programming including exhibition space, conference centers, a canteen, and an incubator for external workshops.

Within the R&D Headquarters will be a variety of flexible floor plates from spacious and large floors suitable for R&D departments and special projects, to smaller more traditional floors for administrative and executive functions. On the upper floors, a dedicated OPPO canteen as well as executive and VIP lounges will overlook Hangzhous wetlands alongside the triple-height interconnected atria under the O-ring facade that will provide similar views for all OPPO staff. All floors of the building integrate workspaces with biophilia and social spaces.

Image by BIG-Bjarke Ingels Group

The new OPPO R&D Headquarters will not only bring OPPO employees to an innovation zone for global technology entrepreneurship, but will create a sustainable and vibrant community that will become an iconic destination on the Hangzhou waterfront.

Image by BIG-Bjarke Ingels Group

BIG first started working in China in 2010 with the Danish Pavilion at the Shanghai Expo, followed by the Shenzhen Energy HQ completed in 2017, Terminus AI City in Chongqing announced in 2020, and now the OPPO R&D HQ in Hangzhou.The design for the O-Tower has been developed by BIG in collaboration with ZIAD (Local Design Institute), Co-Create Golden Technique Project Management (Client Project Managers), RBS (Structural Engineers), RFR (Faade Consultants), WSP (Traffic, MEP, VT Consultant), BPI (Lighting designer), Savills (Programming consultant), TFP (Foodservice planner), and UAD (Traffic evaluation agency).

OPPO R&D HQ FACTSName: OPPO Global Mobile Terminal R&D HeadquartersType: Office, Retail and MasterplanSize: Office 161,330m2, Retail 68,000 m2, Site area: 48,900 m2Location: Hangzhou, CNCollaborators: ZIAD (LDI), WSP (Traffic, MEP, VT Consultant), RBS (Structure Consultant), RFR (Faade Consultant) CCGT (Client project manager), BPI (Lighting designer), Savills (Programming consultant), TFP (Foodservice planner), UAD (Traffic evaluation agency)

BIG BJARKE INGELS GROUPBIG-Bjarke Ingels Group is a Copenhagen, New York, London, Shenzhen, and Barcelona based group of architects, designers, urbanists, landscape professionals, interior and product designers, researchers and inventors. The office is currently involved in projects throughout Europe, America, Asia and the Middle East. BIGs architecture emerges out of a careful analysis of how contemporary life constantly evolves and changes. By hitting the fertile overlap between pragmatic and utopia, we architects once again find the freedom to change the surface of our planet, to better fit contemporary life forms. Instagram, Facebook, Twitter, LinkedIn, WeChat, http://www.big.dk

Partners-in-Charge: Bjarke Ingels, Brian YangProject Leader: Hung Kai LiaoProject Architect: Kekoa CharlotDesign Lead: Ewa BryzekFacades Lead: Aimee Louise DesertTeam: Adam Busko, Agnieszka Magdalena Trzciska, Alessandro Zanini, Alda Sol Hauksdttir, Andra Beler, Buster Christensen, Cristina Gimnez, Seongil Choo, Camille Breuil, Carlos Ramos Tendrio, Cris Liu, Daniel Ferrara Bilesky, Eddie Can, Eric Li, Filip Fot, Geetika Bhutani, Gl Ertekin, Jens Majdal Kaarsholm, Julia Gotovski, Karim Muallem, Liang Zhang, Laura Kovacevic, Malka Logo, Maria Capuozzo, Martyna Sylwia Kramarz, Mats Kolmas, Max Alexander Bonecker, Mengyuan Li, Mads Primdahl Rokkjr, Naphit Puangchan , Ombretta Colangelo, Rasam Aminzadeh, Roberto Fabbri, Stefan Plugaru, Steen Kortbk Svendsen, Su Myat Nge Nge, Shuting Zhang, Weronika Siwak, Xiaochang Qiu, Xavier Thanki, Yusheng Huang, Zhonghan Huang

For further information, please contact:Camilla Borggaard, Head of Communications, BIG-Bjarke Ingels Group, +45 4018 1912, [emailprotected]

Read more: INFINITY LOOP ON THE HANGZHOU HORIZON

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OPPO's O-Tower Connects Ground to Sky in a Continuous Loop of Collaboration - Greenroofs.com

Trimble and HORSCH Partner to Deliver Autonomy Solutions to the Agriculture Market – Lenoir News-Topic

MAPLETON, N.D. and SUNNYVALE, Calif., April 19, 2021 /PRNewswire/ --HORSCH and Trimble (NASDAQ: TRMB) announced today a collaboration focused on developing solutions that enable autonomy in agriculture with the goal of building a future for autonomous machines and workflows in the industry.

The collaboration extends beyond autonomously controlling machines, such as the self-propelled crop protection sprayers, to full workflow automation from the office to the field. This relationship integrates Trimble's established autonomy expertise in guidance systems, path planning and in-field processautomation with HORSCH's fleet of machines.

The first phase will bring automation to the complex planning, machine control and logistical challenges faced by sprayer operators to improve machine performance and reduce operating errors. This functionality can significantly reduce the driver's workload, while still allowing them to intervene at any time. In the long term, this technology establishes a basis for operating fully autonomous machines.

HORSCH and Trimble have successfully collaborated on implementing control technologies and are extending this to include full machine control solutions. The companies are currently implementing a high level of automation and driver support with steering systems. With this increase in automation, a driver can perform additional in-cab tasks during active field work, such as the required documentation, planning and coordination of work processes.

"Combining the forward-thinking nature of HORSCH with Trimble's cutting-edge autonomous technology creates an opportunity for the companies to develop innovative applications for the OEM and Trimble's agriculture network," said Finlay Wood, business area director for Trimble Autonomous Solutions. "We are building new customer-focused solutions as part of our existing connected farm ecosystem to deliver a unique and compelling solution for our customerssimplifying the complex, logistical and operational challenges of modern agriculture."

"The unique opportunity with this collaboration is not that we are presenting a future utopia but that we are moving step-by-step towards autonomy in a pragmatic, consistent manner," said Theo Leeb, managing director for HORSCH. "We consider automation in agriculture to be one of our next key technologies, and our goal is to ultimately deliver a platform of various applications to help farmers meet the challenges of the future."

About HORSCH

The family-owned company HORSCH is one of the world's leading manufacturers of modern and innovative agricultural technology. The focus is on the development of products for soil cultivation, sowing, crop protection and hybrid farming to improve sustainability. Around 1,800 employees worldwide stand for "farming with passion" from production to management. Contact and exchange with customers worldwide has always been a top priority at HORSCH. Due to this high level of customer contact, HORSCH is a thought leader within the agriculture industry, focusing on the issues facing farmers and anticipating the needs for their future. In order to continue to meet these future demands on agriculture, HORSCH is constantly working on new developments, which are also in use on its own farms with several thousand hectares of arable land. For more information, visit: http://www.horsch.com.

About Trimble Agriculture

Trimble's Agriculture Division provides solutions that solve complex technology challenges across the entire agricultural landscape. The solutions enable farmers and advisors to allocate scarce resources to produce a safe, reliable food supply in a profitable and environmentally sustainable manner. Covering all seasons, crops, terrains and farm sizes, Trimble solutions can be used on most equipment on the farm, regardless of manufacturer and production year.To enable better decision making, Trimble offers technology integration that allows farmers to collect, share, and manage information across their farms, while providing improved operating efficiencies in the agricultural value chain. Trimble solutions include guidance and steering; grade control, water management; flow and application control; harvest solutions; desktop and cloud-based data management; and correction services. For more information on Trimble Agriculture, visit:agriculture.trimble.com.

Trimble in Autonomy

For more than 20 years, Trimble has been connecting the physical and digital worlds in agriculture, construction, and mining with its automation technologies. These scalable solutions and services enable the next generation of autonomous functionality to improve productivity and safety. Trimble has been at the forefront of positioning innovation for over 35 years, providing autonomous solutions for off-road machines such as tractors and haulers. Positioning is the foundation for helping transform how the world leverages autonomy through a robust suite of solutions, which include GPS/GNSS, truthing, inertial, dead-reckoning, machine control, sensor fusion and more. For more, visit: https://positioningservices.trimble.com/industries/automotive.

About Trimble

Trimble is transforming the way the world works by delivering products and services that connect the physical and digital worlds. Core technologies in positioning, modeling, connectivity and data analytics enable customers to improve productivity, quality, safety and sustainability. From purpose-built products to enterprise lifecycle solutions, Trimble software, hardware and services are transforming industries such as agriculture, automotive, construction, geospatial and transportation. For more information about Trimble (NASDAQ: TRMB), visit: http://www.trimble.com.

GTRMB

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Trimble and HORSCH Partner to Deliver Autonomy Solutions to the Agriculture Market - Lenoir News-Topic

Qurans verses need to be reviewed. But by Islamic scholars, not Supreme Court of India – ThePrint

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Absolutely frivolous, thats how the Supreme Court termed Waseem Rizvispetitionto remove26versesoftheQuran. While dismissing the petition,the Court also imposed a fineof Rs50,000 on the petitioner.Rizvi had alleged that these verses promoted enmity and violence against non-Muslims.

Waseem Rizvi should have taken his case to where it belonged the Islamic scholars, both traditional and modern,not the Supreme Court of India for a reinterpretation, not deletion of the verses.A review of Islamic theology and shaping of a new mode of religious thinking is long overdue among Muslims.

TheQuranneeds a new meaning, and a new interpretive classicism, to carry forward the achievements of modernity and enlightenment, not a rehashing of antiquated commentaries.

But Waseem Rizvi has been a man in such hurry for political celebrity as not to pauseanddraft a legally sustainable and intellectually tenable case. So riddled has been his petition with such elementary mistakes as quoting chapters and versesthatdont even exist in theQuran, and building a case on the basis of pedestrian canards, sectarian stereotypes and motivated gossips that it had been really liberal of the Supreme Court to admit it.

That such a petition could be admitted has been a cause of consternation since the Supreme Court adjudicates matters pertaining to the Constitution, not scriptures. If one were to draw on Stephan Jay Goulds schema of science and religion asNon-OverlappingMagisteria, the Constitution and theQuran one being a rational human document and another a result of mystical inspiration exist in their separate domains without impinging on the other.

Also read: Waseem Rizvi: Meet the most anti-Muslim Muslim man in India

Scriptures dont change. Their readers do. With changing times and values, new insights are brought into the reading of scriptures, and ever new meanings are discovered in them. Islams doctor maximus,Ibn al-Arabi(d. 1240), insisted that every time a Muslim recited a verse from theQuran, it should mean something different tothem.

Scriptural interpretation doesnt seek to revive a mythical utopia.It reinventsthe scripture to make it speak to our contemporary predicaments.

All religious scriptureshave mattersthatdont accord with modern sensibilities. Violence, misogyny and xenophobia are rife in them, yet they are considered sources of numinous elevation and consolation.

Most religious scriptures have once been a source of law. But their communities no longer regard them as such. Scriptures bring them intimations of the transcendent, not the legislation for the contemporary society.

Readers of other religions have stopped deriving law from scripturesand given it an interpretationthataccordswith contemporary sensibilities by reading down the offensive parts. Similarly,Muslims can read modern values into Islam too.

Muslims, however, continue to regard theQuranas the supreme source of law.So,a conflict is created between the laws of the secularState and the idealised Shariah, which gets accentuated on issuessuchas the treatment of minorities, gender justice and the commitment to democracy and secularism.

Insofar as other communities dont derive laws from their respective scriptures, dont claim to be inspired by them in their worldly affairs, and dont try to restore their utopian past, the anachronistic verses of their religious books are not dug out to make a case against them.

TheQuranuses many self-descriptors for itself such as the Recitation, the Book, the Reminder, the Warner, and the Bearer of Glad Tidings, but nowhere does it use an epithetthatcould remotely be considered an equivalent of law.

TheQuran, in its own words, is free from discrepancies (4:82, 39:23). But the reductionism involved in extracting laws for everyday life was bound to throw up myriad contradictions given the multitudinous diversity of human affairs.

Also read: Islams crisis doesnt need Reformation. It calls for relocation

The Fuqaha (Islamic jurists) were not equal to the spiritual and mystical dimensions of theQuran. Instead of reconciling these contradictions in the spirit of Coincidentia Oppositorum(the unity of opposites),they took an easy recourse to voiding those versesthatdidnt fit in their juristic model. This methodology is known asNaskh(Abrogation), wherein one verse overrides another, effectively rendering it juristically and normatively redundant without actually expunging it.

Asunnat, anhadees, or theijma(consensus of Islamic jurists) is also employed forreading downversesthatdont cohere with their jurisprudence. The famous jurist and exegete, Ibn al-Jawzi (d. 1201), named no less than 247 abrogated verses. On the lower side of the scale, Shah Waliullah of Delhi (d. 1762) kept the number to a meagre five.Naskhis the domain of Islamic theologians and jurists. The court of law of a secularState such as the Supreme Court of India is not the right forum for it.

Another hermeneutic and methodological tool of Islamic jurisprudence, theology and Quranic commentary is the concept ofSabab Nazul the occasion or the context of the revelation of a particular verse. Besides shedding light on the historicity of a verse, it also weighs the rationale for its trans-contextual extrapolation. Thus, if a particular verse,such as theSword Verse (9:5),could be understood only in its immediate context of revelation, its relevance would be purely historical and academic, not prescriptive and emulative.

Also read: Indian madrasas are thought-influencers. Their funding, modernisation should be priority

TheQuranis a book of some bulk consisting of as many as 6,236 verses. A few of them are taken out of their historical and textual context in isolation from the preceding and succeeding verses to impute malice to it. The blame for this disingenuous method, however, has to be placed on the shoulders of the conventional interpretive stylethathas been thriving on random quotation of a verse, or a part of it, to clinch an argument. Such has been the validity of this tradition that the ideological superstructure of the political Islam has been built without this methodology being brought into question with no more than 10-15 verses culled arbitrarily from here and there. So much so that the phrase,aqeem us-salat, whose standard translation is, be constant in prayers,was interpreted to mean a mandate for the establishment ofanIslamic state. Such instrumental use of theQuranmakes it vulnerable to a similar misuse by its detractors.

Till the time violence and obscurantism keep deriving legitimacy from theQuranand its classical interpretations, Islam will remain exposed to calumny.Mainstreaming a modern mode of Islamic thinking, an advance over the modern principles of liberty and justice, is an ineluctable exigency.

Najmul Hoda is an IPS officer. Views are personal.

(Edited by Neera Majumdar)

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Qurans verses need to be reviewed. But by Islamic scholars, not Supreme Court of India - ThePrint

Fear The Walking Dead Is Killing Off Its Cast At A Rapid Clip – Forbes

Fear the Walking Dead

Fear the Walking Dead is wasting no time making major moves to cut down the size of its cast now that it has returned to finish up the season after pandemic delays.

Spoilers follow.

Last week brought the surprise death of John Dorie, played by Garrett Dillahunt, killed by Ginnys sister Dakota once he figured out she was the culprit in a murder he was previously trying to solve.

This week, Morgan refused to execute Ginny for her many crimes, but that was not the plan for June, who shot a chained-up Ginny with Johns gun before donning his hat and leaving Morgans would-be utopia. It was no less than she deserved.

The Fear cast has gotten pretty expansive at this point where Im not surprised to see them cutting it down. But its also not clear whether these deaths are by actor request, or written into the series on purpose, as the show has done both before. Madison Clark was killed as actress Kim Dickens didnt seem to be on board with that plan. But actor Frank Dillane wanted to leave the series, which is why Nick Clark was killed.

I would not be shocked if Garret Dillahunt wanted to move on to new projects, though weve heard nothing to confirm that. As for Ginny, Colby Minifie, her star has been rising with roles both here and in The Boys, but I mean, most Walking Dead villains not named Negan usually meet their end at some point, so who knows.

Fear the Walking Dead

Most fans are curious what the plan for Fear the Walking Dead is from here, the only currently airing Walking Dead series that does not have a planned series finale ahead. The Walking Dead will end after a massively expanded season 11, while The Walking Dead: World Beyond, was always only ever meant to run 20 episodes. Fear is now is season 6 and has gone through a pretty astonishing amount of ups and downs at this point. Currently Id put its quality somewhere in the middle of its good and bad past seasons, though its still doing things I dont love, like totally sidelining Alicia, who should have been leading this show for years, in favor of Morgan.

Who is next on the chopping block? I have my guesses as to who might want to depart. I do have to wonder if Alycia Debnam-Carey is tired of not leading the series after six years now, and might want to move on. I also have my eye on Coleman Domingo, another season 1 original who has been really blowing up in his non-Fear-related projects, with parts in Euphoria, If Beale Street Could Talk, Ma Raineys Black Bottom and more. Hes secured an overall deal with AMC, but I wonder if that necessarily extends to him continuing to play Victor indefinitely.

NEW YORK, NEW YORK - JUNE 03: Actor Colman Domingo discusses season 5 of "Fear The Walking Dead" ... [+] with the Build Series at Build Studio on June 03, 2019 in New York City. (Photo by Roy Rochlin/Getty Images)

Right now, theres a larger war brewing against some unknown force that has to do with what appears to be a nuclear armed submarine, something we havent seen for a while, and it seems like it will be explored in a digital series to come, in addition to whatever happens on Fear.

I do not know what the endgame of Fear is, but no Walking Dead crossovers appear to be happening any time soon, and possibly will not happen given that TWD is about to end for good, and turn into a Carol and Daryl spin-off. The timelines are out of whack with Fear still years behind TWD proper, though its admittedly getting a bit hard to keep track.

Ill keep watching Fear, Ive made it this far. I think its lost some good cast members, but were also pretty far from a steep quality drought of a few seasons ago. Well see how it goes.

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Pick up my sci-fi novels theHerokiller series, andThe Earthborn Trilogy, which is also onaudiobook.

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Fear The Walking Dead Is Killing Off Its Cast At A Rapid Clip - Forbes

Corporate state capture: the degree to which the British state is porous to business interests is exceptional among established democracies – British…

Abby Innes writes that while UK governments have refrained from intervening in the private sector, they enable ever greater business access to public authority and revenue. She argues that successive policies have led to corporate state capture.

British Ministers and MPs operate with uniquely close ties to business. These ties are an essential feature of the neoliberal transformation of the state. Their vulnerability to conflicts of interest and corruption are a feature, not a bug. Under the New Public Management agenda of the last forty years, agenda-setting and policy design have increasingly been outsourced to professional consultancies, third-sector agencies, law and accountancy firms and corporate sponsored think tanks. The administrative, policymaking and agenda-revising throughputs of the state have seen greater business involvement via senior civil service recruitment and special advisors. Departmental non-executive directors have significant powers but are routinely recruited through an opaque process from businesses with a direct interest in the terrain under a departments control. Finally, the states core outputs in terms of welfare and regulation have been ever more outsourced to the private sector. The machinery of state is now porous to private business interests to a degree that is exceptional among the established democracies. A third of todays central government spending goes on outsourcing.

Britains neoliberal state has become a semi-permeable membrane in which governments refrain from intervening in the private sector but enable ever greater business access to public authority and revenue. Corporate state capture refers to the high point of corruption whereby private interests subvert legitimate channels of political influence and shape the rules of the legislative and institutional game through private payments to public officials. In Britain that influence has largely been gifted as a matter of public policy.

Britains corporate state capture by design has happened because neoliberalism is a materialist utopia. It is, in fact, the exact counterpart to its Soviet communist opponent albeit even less tethered to social reality in its theoretical foundations. Where Leninism was based on a deterministic reading of Marxs analysis of capitalist change, British neoliberal policy has been rooted in the most market-fundamentalist wing of neoclassical economics that depends on deductive-theoretic mathematical reasoning and tends to disregard market failures. The result is an agenda of beguiling simplicity. In this scheme, it is axiomatic that when you remove state intervention you improve competitiveness and allow the economy to move closer towards a general equilibrium in which demand and supply are matched with a perfect, frictionless efficiency. This is the mirror of the Soviet belief in perfectly efficient central planning.

For Britains neoliberal governments, it has followed as a matter of logic that the more the state can be got out of the way or made more business-like where it remains, the better. As a society we have moved from ethical debates about the effective government of people in a complex and uncertain world to an era in which parties have competed over the management of a pseudo-science about the allocation of things in a closed-system world of apparently little meaningful complexity at all. The seeds of state capture are sown in materialist utopias because as an article of faith they privilege the interests of one social group as the virtuous, transformative vanguard that will lead us to the Promised Land of seamless allocative efficiency. In neoliberalism it is business rather than the industrial proletariat taken to exemplify the idealised rational economic agent and business is duly endowed with the leading role in society.

In Britain, this idealisation has led successive governments to a deep lack of curiosity about the diversity and complexity of actual businesses. It has also created a profound political complacency about what drives innovation and improves productivity. The history of economic development, as distinct from the neoclassical thought experiment, tells us it is not just competition. Despite the fact that the investment culture of Britains traded companies has been hollowed out by norms of short term profit-maximisation, governments have proved resiliently indifferent to the pathologies of corporate financialisation: the extraction of profit even unto the cannibalisation of the firm itself. John McDonnell ended this complacency in Labour, but it persists across the aisle. In the meantime, Britains public sector industry firms are among the most financialised of all. Carillion and Interserve went bust because of it. Serco and the rest continue to leverage their accounts, minimise their investment and training and to sweat their public contracts and employment conditions to maximise profits. The result is a new systemic risk in which the states structural dependency upon these archetypes of rent-seeking makes them too big to fail.

The neoliberal argument for state failure that helped bring it to power in the late 1970s was built on an argument by theoretical analogy: that the state is a monopoly firm and hence the presumptively rational economic actors who run it will tend to exploit their position until the state expands into a totalitarian, socialist Leviathan. There is no concept of public service here. The neoliberal solution proceeds to build in corporate state capture via an analytical ratchet effect in which even chronic failures of neoliberal policy are assumed a priori to be the fault of public servants and their lingering attachments to the privileges of monopoly. It follows as a matter of logic that the answer is to bring in further corporate expertise to bear.

In the meantime, privileged corporate access skews ministerial interactions with other interest groups and unbalances the playing field between them. The extension of public services markets to encompass as many state functions as possible encourages escalating corporate donations to parties in search of favouritism within that dynamic. Contrary to the neoliberal and indeed Leninist fantasy in which the state will wither away to its nightwatchman minimum, the centralising neoliberal state has become a giant of procurement. Government departments are tied into a complex web of relationships with large enterprises scarcely less than in Soviet central planning, only now in super-fragmented form. Those relationships shift whole bodies of public spending from statutory to contract law and under the cloak of commercial confidentiality.

The combination of state failures and corporate state capture is tailor made to undermine public trust because it breaks the democratic fiscal contract in which tax is paid on a fair basis and revenues never confiscated. This corporate penetration of the state has occurred even as the dogmatic principle of self-regulation has been applied by politicians and there remains a near total lack of legal regulation around some of the most serious risks.

Regulatory drift occurs when formal rules are deliberately held constant in the face of major shifts in context, so that outcomes change. The UKs cross-party Committee on Standards in Public Life, the Public Administration and Constitutional Affairs Committee, and the Public Accounts Select Committee have repeatedly called on governments to tighten the rules around conflicts of interest, second jobs, party finance, consultancy, lobbying and revolving doors. All of them have been rebuffed. To regulate political-corporate ties would have violated many of the core assumptions of the neoliberal project: that business actors are only ever honourable wealth-builders, that self-regulation is always superior to state action, that rational self-interest confers no unacceptable social losses.

The public reaction has been one of rising public distrust in political elites, the oxygen in which populism thrives. The most recent (2013) Transparency International Global Government Barometer showed the following attitudes for the UK:

These numbers might seem conspiratorial but what other terms should we use? We might have called it idealistic zeal in the early years of Thatcherite enterprise and New Labour modernisation, the utopianism of the project notwithstanding. At what point does it stop being good faith, however, when governments persist in the marketization of the state even in the face of systemic failures of neoliberal policy, strategy, and increasing costs? How high has the capacity for governmental self-delusion become when corporate actors are parachuted into the senior civil service and allowed to direct hard-earned public monies into even the most dubious of private hands? What else is it but corruption in its classic form when as consultants or on retirement ministers and even prime ministers charge rates of remuneration beyond the wildest dreams of the average voter in return for their knowledge and influence, from the very businesses they were supposed to govern in the public interest? Since even small side-payments are toxic to public trust, the current dispensation is surely mortal. Already by 2015 there were some 4,000 people working professionally in the UKs 2 billion lobbying industry, which made it the third largest lobby in the world. Everything, including the climate transition, is at stake unless we reverse the dynamics at hand before they reach their full, kleptocratic, Trumpian potential.

The political culture of public service inherited from the post-war era has been weakening with each new intake of Conservative MPs, though many persist with it against the odds. However, a fifth of the Conservatives 2019 new MPs had a background in lobbying or public relations. By 2020, the economic values of the partys MPs were far to the right of even their own councillors and party members, let alone the wider electorate. Johnsons second Cabinet is comprised of the parliamentary partys most committed economic libertarians and since coming to power they have sought to shatter this culture from the top. The Prime Minister himself has shown an overt nihilism around standards in public life, as indicated by the resignation of his Advisor on those standards and the failure to replace him. Even as tens of thousands of people died needlessly of Covid-19 because of late intervention, a VIP lane for procurement was organised so that suppliers with government contacts were ten times more likely to be awarded a procurement contract than those who applied to the Department of Health and Social Care.

What comparative history teaches us is that once the dynamics of corporate state capture take hold the risk is that political parties themselves become targets for those who choose politics for primarily private gain. If they rise to the top, the risk is that elections cease to be about representation and become the point of market entry and exit. Political parties become corporate brokers who oversee the continuous distribution of public revenue and rents into private hands. A populist, authoritarian politics becomes the effective way to corner this market.

Even in the context of a public health crisis, the Johnson Government exhibited an ideological allergy to engaging with public sector expertise and capacity until absolutely forced to by events. For economic libertarians, it is really not clear that there is any intrinsic moral injunction against their own private enterprise en route. Just as Leninism and Stalinism had stripped out the radical democratic republicanism of Karl Marx, so too neoliberalism in its purest form picks liberalism clean of its nineteenth and early-twentieth century ethical debates about the nature of republican virtues.

For economic libertarians, in principle the marketplace is designated as the sphere of true freedom: the only republic. The history of late stage materialist utopias in practice, however, is that in the absence of a viable social contract, the nexus between the governing regime and its society becomes that of a protection racket. Insofar as Rishi Sunak has proved keen on public spending, it is directed far more obviously at political self-perpetuation than the public interest: in the new 1billion Towns Fund justified as a way to level up deprived communities, 40 of the 45 chosen areas had a Conservative MP. An additional 4.6 billion fund was likewise found to include wealthy Conservative constituencies, even as some of the poorest cities in the country, such as Salford, which voted Labour, were relegated to a lower funding tier. As the sociologist Ken Jowitt concluded of the USSR: Brezhnevs novelty seems to have been to take the Partys organizational corruption and elevate it to the status of an organizational principle. The serious question for Conservative backbench MPs is whether, on reflection, they are willing to participate in their partys final ruin as a democratic entity, and to see the concepts of liberty and love of country deployed as their alibi.

______________________

About the Author

Abby Innes is an Assistant Professor at the European Institute of the LSE. She has written extensively on the political economy of corruption in Central Europe and is part of a UN/NYU transnational working group on corporate state capture. She is completing a manuscript on the systematic affinities between Neoliberal and Soviet economics. Its working title isLate Soviet Britain: The Political Economy of State Failure in Materialist Utopias.

Photo by Ehimetalor Akhere Unuabona on Unsplash

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Corporate state capture: the degree to which the British state is porous to business interests is exceptional among established democracies - British...

10 Memorable Conversations From 15 Years of the Book Reviews Podcast – The New York Times

This month were celebrating the 15th anniversary of the Book Reviews podcast, the first podcast at The Times and still going strong. Pamela Paul, the shows host and the editor of the Book Review, recently wrote about 15 of her favorite episodes from the eight years she has been at the helm. I thought I would expand the scope to the entire archive Sam Tanenhaus, Pauls predecessor, hosted for seven years and share 10 more memorable conversations. (As an editor at The Times, Ive had a hand in the podcast since 2011.) Below youll hear Toni Morrison discuss her vision for her novel A Mercy; Andre Agassi, Christopher Hitchens and Jeanette Winterson talk about their memoirs; Andrew Solomon on the profound lessons of death and dying; and more.

Nov. 30, 2008

This was a different era of the podcast, when each episode aired on the radio and had to fit a 15-minute template. So this extended conversation with Toni Morrison is, alas, only about seven minutes long. But given that its Morrison, theyre a full seven minutes. (Her segment starts about five minutes into the episode, after an update on the publishing industry.) Morrison spoke about why she set A Mercy when she did, beginning in the 1680s, because it was a time before there was even an idea of America, just the name of a continent, when the separation of whites, Black people and Native Americans wasnt as strictly codified as it would become. Dividing the world up ethnically or racially was a deliberate and sustained event that grew, she said. But before that, I just wanted to suggest what it could have been like. Before the narrative that we have now about the beginnings of this country.

Nov. 22, 2009

With all due respect to all of our guests over the years, some episodes, more than others, have no clear lead guest but multiple headliners, and this is one of those cases. Agassi was on the show to discuss his highly acclaimed autobiography, Open. He talked about the dislike of tennis that he felt through much of his youth and storied career, and about the process of finding and working with his co-writer, J.R. Moehringer. Stephen King was on this episode to talk not about his own work, but that of the great short story writer Raymond Carver. The occasion was twofold: a new biography of Carver, by Carol Sklenicka, and a collection of Carvers stories published by the Library of America.

June 20, 2010

Hitchens appeared on the podcast several times, but never more revealingly than in this episode to discuss his memoir Hitch-22. But in addition to getting personal about his father, his friendship with Martin Amis, his first experiences after moving to the United States he also makes time to discuss politics, including his impression of then President Barack Obama. I think that his humor and intelligence and niceness and open-mindedness may be in some ways a disadvantage to him, Hitchens said. Quite a lot of the major problems of our time do not, in fact, arise out of misunderstandings, as he sometimes gives the impression of thinking, or hoping, that they do.

March 25, 2012

If youre in a bad mood, I challenge you to listen to this interview with Jeanette Winterson and remain that way. Even though Winterson was appearing to talk about her troubled childhood and the portrayal of it in her unbeatably titled memoir, Why Be Happy When You Could Be Normal? her conversation is energetic and hyper-articulate, as if shes writing one of her books while she talks. She begins this segment talking about her adoptive mother: I call her a monster, but I say she was my monster. She was the big-screen character in the small screen of our lives. She had operatic dimensions.

In 2016, Andrew Solomon wrote about five books that concerned the subjects of death and dying. As he described them in his review: one by a historian; two by hospice workers; one by a widow; one by a man who is dying himself. Solomons visit to the podcast to discuss his piece and those books resulted in one of the more emotional and profound episodes in the shows history. Part of whats compelling about these books is that the enormous beauty thats in them constitutes a form of hope, Solomon said. So on the one hand, that people die, and on the other hand, that people live so richly in that instant before they die. And when you read these books, not only do you have to reconcile yourself to your own mortality, you also think, Maybe I can do that as beautifully as they did, and if I can, maybe it wont be so bad for me, for the people I leave behind; maybe the death of someone else wont be so bad for me. Theres a strange comfort thats buried in these books.

April 26, 2019

The historian Henry Louis Gates Jr. had two new books out when he sat down for this episode books covering similar ground but intended for different audiences. Stony the Road is about the backlash to Reconstruction and the establishment of Jim Crow. Dark Sky Rising is a work of nonfiction for young adults about the same era, which he co-wrote with Tonya Bolden. Wallace-Wells was on the show to discuss The Uninhabitable Earth, his terrifying book about our future in the face of climate change. Both guests proved that a depressing subject can sometimes be the best foundation for engaging conversation.

Dec. 13, 2019

Reginald Dwayne Betts came on the podcast to talk about his third collection of poems, Felon, and about his remarkable personal story: After spending more than eight years in prison for a carjacking he committed at 16, Betts earned a graduate degree in writing, then a doctorate in jurisprudence from Yale Law School, and has become an acclaimed memoirist and poet. Betts said that Felon was his attempt to write directly about the challenges, stigma and vulnerabilities that come with life after incarceration. I wanted to think about the ways in which its just this whole landscape of harm that exists that we dont address, he says. Its me trying to explore the complicated ways in which we figure out how to be human once we come home.

July 10, 2020

Regularly featuring critics as well as authors on the podcast is one of the things that we believe sets the show apart. When Daniel Mendelsohn reviewed David Mitchells novel Utopia Avenue on the cover of the Book Review, he used it as an occasion to also consider Mitchells varied and estimable career as a whole. This wide-ranging conversation on the podcast, about not just Mitchells work but about the general art of reading any author over the course of a long career, is a particular favorite from the critic category.

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10 Memorable Conversations From 15 Years of the Book Reviews Podcast - The New York Times

San Franciscans still live in 1906 earthquake shacks. Here’s why they matter more than ever – San Francisco Chronicle

Liz Henry knew she was moving her family of four into a very small space in 2013. The blue cottage between two larger houses stands out on the block, due to its lack of size.

But it wasnt until after the lease was signed that she discovered 48 Cortland Ave. in the Bernal Heights neighborhood of San Francisco was the Shelby Mustang or Stradivarius of tiny houses: one of dozens of surviving 1906 earthquake shacks that are still scattered around the city. Some are lived in by people who dont realize their celebrity status.

It was very exciting, Henry says. I got into reading the history of how they were built. I remember going to look at the property records online and just seeing the official record listed as refugee shack.

There were once 5,610 refugee shacks in 11 San Francisco parks, assembled with lightning speed in the months after the April 18, 1906, earthquake and fire. Today, there are fewer than 50 identified in the city. But those that remain are a symbol of civic vision, built in a bureaucracy-free utopia that included a partnership among city officials, labor unions and the U.S. Army. Theyre also a symbol of post-crisis rebirth, designed to house the displaced workers who built back San Francisco better than ever.

And today, 115 years after the disaster, theyre the most visible reminder of the citys most defining event preserved by a shifting collection of regular citizens and nonprofit history organizations, advocates so dedicated to the shacks that they feel like a religious order.

14 Elsie Street, a surviving 1906 earthquake refugee cottage, is seen in San Francisco, California Wednesday, April 14, 2021. (Stephen Lam / The Chronicle | San Francisco Chronicle)

Shack historian John Blackburn with the Bernal History Project volunteer research group sent The Chronicle a file that includes data sets, images and a 426-slide PowerPoint presentation. Asked what inspires him to spend so much time cataloging the small homes, when hes never lived in one, the retired private investigator answers, Everything.

They were simple, elegant, functional and timely, says Blackburn, a longtime Bernal resident. They served a need, and they are still serving a need all these years later. They are in essence the beginning of the tiny house movement, which today is all the rage.

The house builders werent being trendy when they started mass-producing shacks months after the earthquake and fire. Half of San Francisco had burned to the ground, and refugees moved to tent cities in Golden Gate Park, the Presidio and other green spots. But the shelters were a ticking clock. Relief leaders feared they would become waterlogged and disease-ridden when heavy rains arrived later in 1906.

A tent camp in Golden Gate Park, April 1906, after the Earthquake and fire. (Chronicle Archive 1906 | San Francisco Chronicle)

Using redwood and fir lumber sent from Washington state and Oregon, the cottages were built in tight clusters in the parks with cooperation among the San Francisco Parks Commission, headed by John McLaren, the San Francisco Relief Corporation and the Army. Tenants paid $2 monthly rent on cottages valued at $50, with the option to own. And in 1907, many shack owners hauled their new property using literal horse power, becoming starter homes in empty lots across San Francisco and beyond.

They served the purpose while the city rebuilt, Blackburn says. They housed the working San Franciscans who helped put this city back on track after the 1906 earthquake. And then they were scattered about. Daly City, Manteca and all the places they went to. Even Santa Cruz has one.

OurSF: 1906 Earthquake photo from the San Francisco Chronicle archive. Photographer unknown. Woman in front of her A-frame shack in a refugee camp

OurSF: 1906 Earthquake photo from the San Francisco Chronicle archive. Photographer unknown. Woman in front of her A-frame shack in a refugee camp

Photo: Chronicle Archives

OurSF: 1906 Earthquake photo from the San Francisco Chronicle archive. Photographer unknown. Woman in front of her A-frame shack in a refugee camp

OurSF: 1906 Earthquake photo from the San Francisco Chronicle archive. Photographer unknown. Woman in front of her A-frame shack in a refugee camp

San Franciscans still live in 1906 earthquake shacks. Heres why they matter more than ever

Thats where the utopian vision ends and San Francisco NIMBYism begins. As early as 1907, newspapers report Glen Park residents fighting earthquake shack families from moving in because their property was being injured.

But the homes and their working class residents were welcome in Bernal Heights, where a large camp of cottages existed in Precita Park, and the great majority of the surviving San Francisco shacks stand today.

(Blackburn and the Western Neighborhoods Project, a nonprofit that recently saved $180,000 worth of Cliff House artifacts at auction, list more than 40 shacks in various databases. A couple dozen are deemed certified, and many are hidden from the public eye. Blackburn believes more are yet to be discovered.)

One of four restored earthquake refugee shacks from Kirkham Avenue in San Francisco is moved for display on Market Street in 2006.

LisaRuth Elliott, a community historian and textile artist who has worked in international disaster recovery, says living in the earthquake shack she occupied until recently near Powhattan Avenue in San Francisco was a wonderful adventure.

It was very much like living on a boat, Id say. Very small, she says. We have a fascination in our culture of living in tiny houses. I really got a sense of what it meant to be in an efficient space.

The great majority of earthquake shacks were 10 by 14 feet, or 14 by 18 feet, with a stove but no kitchen or plumbing. Most were altered to add a bathroom and expand the living space often by linking multiple shacks together like houses in the board game Monopoly. (They were even painted the same color park-bench green.) Elliott thought her space was two shacks, only to discover her bedroom was a converted chicken coop built some time in the first half of the 20th century.

Liz Henrys family relaxes inside the Cortland Avenue home in Bernal Heights where she used to live. The structure was a modified 1906 earthquake shack.

Henry says her familys main living area at 48 Cortland Ave. was almost comically small; even with two bedrooms added on, the house is just 600 square feet. From the outside, the Cortland house resembles the one from the movie Up, in a valley between two much larger structures. But, Henry says, her now-grown children appreciate their memories of the space, which was like living in a log cabin.

It meant we all had to know how to get along, she says, and how to respect each others privacy and boundaries.

Elliott says she lived with space challenges, including food storage in a mini-fridge meant for a hotel room. The original shacks had pegs on the wall to hang clothes, and some of the survivors dont have much more. But all the shack-dwellers salute the sturdiness of the structures, betting that the redwood frames and simple peaked roofs could last a couple more centuries.

And of course, when you live in an earthquake shack in San Francisco, you also feel like youre already sort of one step ahead of the game if theres a bigger earthquake, Elliott says.

LisaRuth Elliott takes a photo inside the Bernal Heights home where she used to live, which was a modified 1906 earthquake shack. (Courtesy LisaRuth Elliott | San Francisco Chronicle)

Ultimately, rising property values, not the elements or natural disasters, have been the biggest threat to the shacks survival. As values climbed across the city, shacks were frequently razed and replaced by structures with 10 or 20 times the square footage. In the 1980s, a race began to save as many as possible from being demolished and replaced.

Jane F. Cryan is the godmother of shack-tivism. She moved into a cottage at 1227 24th Ave. in the Sunset District in 1982 and began collecting data on shacks, lobbying for preservation and eventually getting her rental home registered as City Landmark #171. Blackburn and San Francisco History Association member Vicky Walker (who once lived in the 48 Cortland Ave. shack) have shepherded this history into the present.

Cryan moved out more than a decade ago, priced out of San Francisco and now living in Wisconsin. But in an email interview, her memories of first setting eyes on the shack still read like poetry.

I knew instantly it was a monument to my dreams, a replica of the little houses surrounded by white picket fences I had treasured in childhood magazines and books, Cryan says.

Landmark no. 171 is actually an assemblage of four shacks. Cryan says golden light filtered through the 26 windows in the front and 16 windows in the rear shack. A recent inhabitant started an Instagram account about living in the landmark at 1227 24th Ave.

The Western Neighborhoods Project got its start in 2002 saving four earthquake shacks on Kirkham Avenue in the Sunset one of which found a home at the San Francisco Zoos Conservation Corner. Another pair, the so-called Goldie Shacks, were rescued with help from Cryan and can be publicly viewed behind the Old Post Hospital in the Presidio.

But many shacks have met other fates. Blackburn talks in more somber tones about 281 Nevada St. in San Francisco, a home that once had an entire earthquake shack within it, like a Russian nesting doll of real estate.

It was in the dining room, Blackburn says. The guy who used to own the house just didnt want to tear the shack down.

Sold in 2015, the property was recently demolished to build a new home.

(There are reportedly five shacks in the backyard of one Pacific Heights residence, although Blackburn says the owners prefer to stay out of the public eye.)

Perhaps more than the physical spaces, preservationists love the shacks for their design perfection and what they symbolize. Theyre living reminders of San Francisco at its very best, a community setting aside obstacles to build many small things, for the greater good of the entire city.

San Francisco natives Marsha and Bryan Britt stand on the sidewalk as they visit 1227 24th Avenue, a San Francisco City Landmark and a home made up of three Type A and one Type B 1906 earthquake refugee cottages after reading about its existence in San Francisco, California Wednesday, April 14, 2021. (Stephen Lam / The Chronicle | San Francisco Chronicle)

Blackburns giddy passion about earthquake shacks goes to a darker place when he thinks about the pandemic, and the struggle to house people whose lives are at stake. The cottages, he says, are a reminder of the challenges that our modern society is too fractured, too stubborn or too unambitious to conquer.

It is phenomenal what human beings can do when they have the will to do it in the midst of a crisis, Blackburn says. People do not learn from the past. They have allowed themselves to be bullied into submission.

Elliott says that living in a piece of surviving history makes her think about the kind of world shed like to live in.

Maybe (the modern version of the shack) is not a structure. Maybe its a system, she says.

Elliott has seen ambitious earthquake shack-style thinking during the 2020-21 pandemic, but at the neighborhood level by organizations such as the Mission Food Hub food bank and the Free Farm Stand.

Elliott and Henry both moved out of their earthquake shacks within the past year. Elliott needed a bigger space for her art, and Henry moved to a new home in Bernal just a few blocks away.

Blackburn, who winters in Tucson, Ariz., and admits hes behind in his cataloging, says he hopes interest in the shacks outlives him, just as it has for previous generations. The lessons of the shacks, he says, are timeless.

They banged these things out in a day. And people ended up having great lives in them and raising their kids and the city became whole, Blackburn says. It could happen again.

Peter Hartlaub is the San Francisco Chronicle culture critic. Email: phartlaub@sfchronicle.com Twitter: @PeterHartlaub

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San Franciscans still live in 1906 earthquake shacks. Here's why they matter more than ever - San Francisco Chronicle

Meet new faculty: Katie Adkison and what the Bard tells us about the power of voice – Bates News

Each week this fall, well introduce new Bates professors who have tenure-track positions on the faculty.

This years nine tenure appointments are in the disciplines of art and visual culture, classical and medieval studies, economics, English, environmental studies, dance, politics (two appointments), and psychology.

This week we introduce the seventh of our nine new faculty members, Katie Adkison.

Name: Katie Adkison

Title: Assistant Professor of English

Degrees from: University of California, Santa Barbara, Ph.D. in English; Colorado State University, M.A. in English literature, B.A. in English education

Her work: Adkison studies the role of an individuals spoken voice in early modern English literature what the actual feeling of speaking means and conveys, especially in terms of power structures.

In Adkisons scholarship, voice becomes a kind of embodied sensation. Not literally a sixth sense, but something more akin to sensing knowledge than to just a tool of communication.

Her dissertation: The Sense of Speech: Voice and Sovereignty in Early Modern Tragedy, describes the relationship between early modern theories of sovereignty and the phenomenology of the voice in Elizabethan and Jacobean tragedy.

For example: In the opening scene of King Lear, the titular monarch decides to divide his kingdom based on how much his three daughters say they love him. His first two daughters make elaborate but insincere declarations of love.

Lear then turns to his third daughter, Cordelia, and asks, What can you say to draw a third more opulent than your sisters? Cordelia, who does truly love the king, responds, Nothing, my Lord. She continues:

Unhappy that I am, I cannot heaveMy heart into my mouth: I love your majestyAccording to my bond; nor more nor less. (1.1.91-93)

In referring to her own voice, Cordelia is trying to tell her father something about politics and about love that his love test is failing to understand, says Adkison. Shes saying that love and politics are not mathematical equations. You cant give more love through your voice the way that you can give more money or more of something tangible.

The opening scene is a kernel in the larger lesson of the play. Cordelia, in effect, is vocalizing the fact that her vocalization cant do what her father wants it to do it cant be reduced to words. Shes saying, Theres more to love here, just as theres more to language in the very voice Im speaking through.

The scene sets the stage for the tragedy. Lear wants words to equal inheritance, a kingdom, power. Cordelia wants no part of it. And so it ends, with death, tears, and so much pain, says Adkison.

Iambic sortameter: In King Lears opening scene, Shakespeare uses a jarring version of iambic pentameter for some of Cordelias lines. The rhythm is off, says Adkison, noting that the Bard sometimes uses an extra syllable, 11 instead of the usual 10 or even a whole extra two-syllable iamb in some lines.

Shakespeare did that often, she explains, usually to draw attention to something. If the rhythm is off, you are supposed to feel it as an audience member.

We cant know the intentions of the author now or 500 years later. But the meaning is there, regardless. Thats magic to me.

Adkison recalls the moment that something felt off in one of the lines. And so I started counting syllables, the way youre supposed to when something feels off. The extra syllable had to be purposeful. Its too perfect not to be.

In Cordelias 11-syllable lines, there is something that literally cant be divided up. The rhythm of the lines is as out of step with her fathers demands as her inability to speak her love is. Shes really talking about vocal rhythm and the experience of voice to explain whats going on.

A beautiful thing: The beautiful thing about how literature thinks about language is that we cant know the intentions of the author now or 500 years later, Adkison says. But the meaning is there, regardless. Theres always something new to be parsed and to be found. Thats magic to me.

Classroom magic: Sometimes, magical classroom moments happen when a teacher allows a discussion to go off the straight rails.

Last winter, at the University of California, Santa Barbara, Adkison was teaching Thomas Mores Utopia. A student asked, Is anyone watching The Good Place? referring to the NBC fantasy comedy about a utopian, but problematic, afterlife.

Rather than guide the discussion back to the 16th century, Adkison took a moment to connect the dots. She noted the etymology of the word utopia and how it can mean the good place or no place or the good place that cannot exist or something along those lines.

Eager for wordplay, Adkisons students jumped at the chance to connect Mores Utopia to The Good Place, which led to a conversation about the way that the show uses and problematizes the notion of a utopia in such interesting ways.

Then she guided the students back to how More imagined what a good life looked like in his Utopia. The text is infamously sticky about how one constructs a good life, what it means to live the good life, and all the problems that are wrapped up in that text.

And a course is born: All of that left Adkison wanting so badly to teach a class on utopia. And if you look at utopia, you have to teach the second half of the class on dystopias because it seems to be true that a good place for some frequently comes to mean a bad place for others.

College students are special because they will think with you taking on the agency of research and thinking of their learning as their own.

And, voil! This spring, Adkison will teach such a course on utopian and dystopian fiction, from Mores Utopia and Margaret Cavendishs The Blazing World to George Orwells 1984 and the first of N.K. Jemisins Broken Earth trilogy. Im hoping well end with the first season of The Good Place and try and end on a funny note even if its not necessarily optimistic in all of the ways one wants it to be.

Why Bates? I was so excited when I visited Bates to see how much collaboration happens between departments and between students and faculty. Collaborative research structures the idea of the undergraduate thesis that all students write here.

Why college? College students are special because they will think with you taking on the agency of research and thinking of their learning as their own.

Finding her path: At my core, I have always known I wanted to be a teacher, Adkison says.

I thought I would be a high school English teacher for the rest of my life. But my path to graduate work was one I found late in the stages of my own bachelors degree, when I was taking education courses alongside literature courses. I realized I had more questions about the literature. I couldnt be done.

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Meet new faculty: Katie Adkison and what the Bard tells us about the power of voice - Bates News

Travis Scott Appears to Hint at New Music: ‘Going to Go Cook Up and Build These Walls for Utopia’ – Complex

Travis Scottappeared to tease his forthcoming album Utopia with an incredibly small change to his Instagram that only eagle-eyed fans may have noticed when hechanged his bio from Astroworld, the title of his 2018 album, to Utopia.

Scott also tweeted that he's "GOING TO GO COOK UP AND BUILD THESE WALLS FOR UTOPIA. SEE YOU GUYS SOON." On top of that, Scott told DJ's to "keep checking ur mailbox" as he has "something on the way in the mail for ya."

GOING TO GO COOK UP AND BUILD THESE WALLS FOR UTOPIA. SEE YOU GUYS SOON.

DJs Just keep Checking ur mailboxGot something on the way in the mail for ya

Back in August, Scott celebrated the two-year anniversary, or "Astroversary,"of Astroworld with a handwritten note that concluded, "Let's keep the ride going, see you in Utopia."

When asked to confirm that Utopia was the title of his next album, Scott's friend and collaborator Chase B responded, "Oh nah, it's not. I think thats just him being Trav. Just feeling good, in the moment."In an interview with GQ published in October, La Flame was asked "Where does one go after Astroworld,"to which he responded, "You go to Utopia. Thats where you go."

Scott's latest single "Franchise" debuted atop the Billboard Hot 100, making him thefastest artist to accumulate three No. 1 debuts in the chart's history.

Stay tuned.

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Travis Scott Appears to Hint at New Music: 'Going to Go Cook Up and Build These Walls for Utopia' - Complex

‘Utopia’ is a Pandemic Story That Looks a Lot Like Reality – The Heights

Utopia, a new series from Gone Girl writer Gillian Flynn, hit Amazon Prime on Friday. The show is the furthest thing from utopic, but its title is well-suited for the satirical, vice-filled thriller. Expect the unexpected with Utopiathe plot twists and distorts seemingly harmless comic-obsessed fanboys into serious threats to humanity.

The Amazon Original is adapted from the British show of the same name that aired from 2013 to 2014. It follows a group of friends bonded together by a graphic novel series. The gang connects over the internet, where they share their conspiracy theories that the fictional novels foreshadow reality. When an original copy of the sequel, named Utopia, turns up, the group of young adult friends follow it to a Chicago comic convention. Even though they try to fight it, the friends are eventually forced to come to grips with the fact that their theories might be true. With that knowledge comes the responsibility to save the world.

The eight-episode television series is set amid a rising pandemic that affects children (what a coincidence, right?). This version features familiar namesRainn Wilson plays epidemiologist Dr. Michael Stearns, while John Cusack plays his villainous counterpart, Dr. Kevin Christie. Ashleigh LaThrop of The Handmaids Tale also appears.

Utopia is grim, especially with regard to its characters. The most central character of Utopia is Jessica Hyde (Sasha Lane), a not-quite-hero with complex motivations. Her questionable choices always boil down to her own survival. Trying to understand why she makes the decisions she does is a puzzle in and of itself. Her selfish worldview reflects the shows cynical outlook on humanity.

Many thrillers fixate on a single character who has undergone trauma of some kindthey had a lonely childhood, or skeletons in their closet, or they simply neglect their mental health. Utopia amplifies this trope by fleshing out many of its characters, further strengthening the plot. To varying degrees, each character falls into the trope of the poorly adjusted adult or the mysterious one with a dark past. Still, Utopia knows when to step back and leave some things unknownnobody is put under a microscope. Even with Jessica Hyde, interpretations are about the morality of her actions, not her. Utopia masters the balance of characterization: Although viewers are kept at a distance, they know just enough to empathize with the cast and feel the shows suspense.

Though the show is loosely connected to the coronavirus pandemic, Utopia does not claim to offer up any wisdom for the real world. The show pays more attention to how the characters drive the plot, and most of the time, they dont need to say much for a scene to have significance. The suspenseful storyline of Utopia is an escape from reality, not a fix.

Featured image courtesy of Amazon

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'Utopia' is a Pandemic Story That Looks a Lot Like Reality - The Heights

"Utopia" shows the disheartening problems of pandemic TV – Salon

There are TV series that speak to their times, those that are products of their times, and shows that become casualties of them. Amazon's violent, cluttered "Utopia" is an exemplar of all these concepts at once and almost entirely by accident.

This is a series that's been in the works since 2018 and initially had David Fincher attached before being passed to "Sharp Objects" and "Gone Girl" writer Gillian Flynn, adapted from a 2013 British thriller that only lasted a season. Take note of those dates, because they're relevant here. In 2018 the very thought that a pandemic would unravel life as we know it was enough removed from our reality to nestle it in the background of puzzle-driven action drama revolving around a graphic novel with a cult fanbase.

Five years prior to that, when the U.K. original came out, the world was only a few years removed from the 2009 H1N1 pandemic, a novel influenza virus that ripped across the globe, causing nearly 12,500 deaths in the United States alone. But that was a flu; infection rates subsided, and we moved on.

What we could not let go, however, was our fascination with stories containing mysteries and meanings begging to be detangled, a mass infection triggered by the end of "Lost" . . . and we still haven't stumbled upon that cure.

Now our most pressing concerns are related to, yes, a global pandemic that the current president of the United States has failed to curb or attempted to battle with any strategy whatsoever.Conspiracy theorists have infiltrated our government on the federal and local levels, and the world is praying for a vaccine while fearing that anything rushed to market is bound to either be ineffective or laced with potentially dangerous side effects.

That's also "Utopia," more or less,save for a heroine,Jessica Hyde (Sasha Lane), whose life parallels the action in a comic book with a cult following one that may be laden with clues warning that a deadly manmade pandemic is in the offing. Well, that and recurring appearances by a villain wearing the rabbit's head and a hitmen who indulge in a whole lot of torture and violence.

"Utopia" has polarized critics and many viewers, particularly those who have seen the British original and aren't enamored of Amazon Studios' upgrades. But it is particularly telling that many of the critiques mention the problem of evoking our current moment too closely and nowhere nearly as imaginatively as the moment demands.

The accidental relevance of this series wouldn't be its sole flaw in a timeline where COVID-19 never happened. "Utopia" suffers from stumbles that are all too typical among ambitious creators, primarily the urge to showcase Lane's formidable heroine and a knotty conspiracy with apocalyptic implications at the expense of story and character development.

Diving into the specifics of "Utopia" beyond the barest of descriptions would spoil the twists in its eight episodes, so I'll skip to the diagnosis:this is initially buoyed by fine performances from Ashleigh LaThrop, Dan Byrd, Jessica Rothe, and the always compelling Desmin Borges as comic book fan foursome Becky, Ian, Samantha and Wilson Wilson, respectively. Unfortunately they and Rainn Wilson's disillusioned virologyDr. Michael Stearns aresoon overpowered by Case's gruff takeover of their lives, andthe casual escalation of a body count.

Maybe these traits would be perceived as lesser sins in times past. This being 2020, a year of exhaustion, anxiety and despair, asking the average viewerto get excited about "Utopia" may be equal in appeal to, say, sitting down with someone who has narrowly escaped the California wildfires and offering to soothe them with a "Chicago Fire" marathon, or a screening of "Backdraft."

We are still figuring out how to navigate this existence, mentally and physically, and television plays a more central role in that process than ever before. It is our information source and our escape, and will increasingly be so as the weather grows colder and the political noise surrounding the election grows more piercing and dangerous.

However as I was watching the finale of "Utopia" a line of dialogue spoken by John Cusack's character Dr. Kevin Christie stuck with me: "People are driven by the need to know what happens next." Mired as we are in such a precarious era, it struck me that the downfall of series such as "Utopia" or even shows revolving around prosaic premises such as Netflix's upcoming"Social Distance" or NBC's "Connecting" is their inability to transport us to places beyond the hell we're in.

"Social Distance" is an eight-partanthology series tracing the chronology of this novel coronavirus from the onset of quarantine to the eruption of protests stemming from the murder of George Floyd. "Connecting" is a network comedy featuring an ensemble cast, and what these shows have in common with, for that matter, Freeform's "Love in the Time of Corona" and HBO's "Coastal Elites" is that they're all products of our lockdown culture.

Each is filmed using distanced cameras, creating scenes from security footage, computers and mobile devices, or approximations thereof, and basically transforming the audience into webcam spies. The thing is, these are series inviting us to watch conversations between actors conversing directly to us or to each other using web conferencing screens, as if the people watching them haven't been on those screens nearly every waking moment of their days.

"Utopia," meanwhile, is a fiction that imagines a dark, dystopic fantasy of our reality, which is already a darkdystopia, and attempts to resurrect the sort of cryptographic mystery that defined "Lost" in our memory. But if that were all that drama had going for it, the story never would have gotten its hooks into us.Instead its appeal is very simple and the missing ingredient in the "Utopia" formula, which is that we embraced it for the relationships.

This is where "Utopia" fails and, although those other shows are quite different, this is where they come up short as well. I understand, of course, that the very point of "Connecting," "Social Distance" and "Love in the Time of Corona" is to illustrate the difficulty of forging new connections and maintaining the strength of old ones at a time when we're supposed to limit the time we spend outside of our own houses and stay at least six feet apart from people we use to reflexively hug on sight.

And this brings me back to Dr. Christie's question: What would we get, as viewers and humans hungry for an uplift, if creatives stopped looking back or trying to commiserate with the audience and dared to leap ahead a few years and create a destination that isn't dark, disturbing and violent, or too much like looking like the walls of our own coop?

What if someone created a comedy or a drama based on aspiration and hope as opposed to yet another procedural or ensemble piece featuring characters yelling at one another through windows, actual or virtual?

What if, despite the fathoms-deep social divisions wrecking our conscious hours, some enterprising writer and studio can collaborate on a vision that isn't an adaptation of our flawed present or some property that's already been explored. That turns out not to be a place to escape, but a destinationat which we can dream of arriving?

Sure, it's an ideal. But it's exactly the type of show I'd happily tune in.

"Utopia" is currently streaming on Amazon. "Social Distance" premieres on Thursday, Oct.15 onNetflix. "Connecting" airsThursdays at 8 p.m.NBC, moving to 8:30pm on Oct. 29.

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"Utopia" shows the disheartening problems of pandemic TV - Salon

Pandemic thriller Utopia on Amazon might be the perfect viewing – CNET

Becky (Ashleigh LaThrop) and Jessica Hyde (Sasha Lane) in Utopia, hitting Amazon Prime Video on Sept. 25.

Before diving into Utopia, Amazon's new conspiracy thriller series from Gone Girl's Gillian Flynn, let's get the big question out of the way: Is it better than the cult classic 2013 British series it's based on?

Short answer: No.

But at least it's not a mass appeal US remake. Flynn pens all eight episodes of the adaptation about a pandemic conspiracy, with John Cusack and Rainn Wilson providing the marquee names. Originally ordered in 2018 with David Fincher tapped to direct, the series hit pause before Amazon, with a trio of directors, made it happen -- and with the benefit of some fortuitous release timing.

Entertain your brain with the coolest news from streaming to superheroes, memes to video games.

That's as long as you're into pandemic TV. The ridiculous conspiracy, involving a bat-based virus that might have been created on purpose, will tug the occasional wry smile. There are new and reimagined characters, and the further the conspiracy unravels, the more it veers away from the original. Plus, Cusack is weirdly charismatic as the creator of a synthetic meat.

There's a lot here. But you're still better off seeking out the UK version.

Center: John Cusack as Dr. Christie.

The plot starts off the same way. Several parties are hunting down a graphic novel called Utopia that predicts future viruses. There are the torture-artist secret agents known as The Harvest, and the "fanboys" who believe the prequel to Utopia, Dystopia, predicted real-life epidemics like Eobola and MERS.

"Why do we keep feeling like it's the end of the world?"

"Because someone is ending the world!"

Caught in the middle is the mysterious Jessica Hyde (Sasha Lane), who has a role in the graphic novel and is on the run from The Harvest. "Where is Jessica Hyde?" is repeated a lot.

Ian (Dan Byrd), Wilson Wilson (Desmin Borges), Sam (Jessica Rothe) and Becky (Ashleigh LaThrop).

The giddy excitement of the "fanboys", or nerdy internet friends who study the mysteries of the manuscript, is fun to share as the epiphanies come thick and fast across the episodes. There's insurance man Ian (Dan Byrd), his crush harboring a secret illness Becky (Ashleigh LaThrop), underground bunker owner Wilson Wilson (Desmin Borges), troubled 11-year-old Grant (Javon Walton) and brand-new character, idealistic Sam (Jessica Rothe).

Their bumbling naivety is chuckle-worthy, especially in high tension scenes with agents like Arby (Christopher Denham), a tracksuit-wearing, raisin-popping, softly-spoken psychopath. While there's no infamous school shooting from the original, his eyeball torture scene remains horrendous.

While the US adaptation's violence is less extreme, the extreme characters grate. They mainly populate the second big storyline following Cusack's scientist Dr. Kevin Christie, who's accused of starting a new virus, and Rainn Wilson's meek Dr. Michael Stearns, who studies it.

It doesn't help that some characters, like Jessica Hyde, are super serious, making those like Christie's ambitious son, who oversees a media spin team with the smile of a game show host, seem even more over-the-top.

The relatable band of misfits are gradually nudged to the side, when you want them to drive the narrative. Their interactions with Jessica lack chemistry, her cutthroat decisions often receiving baffled looks.

The absurd-to-serious tone rides an electronic current from Jeff Russo's score, which at times sounds like The Social Network's. It's dark and ominous, but might have benefitted from a hit of wackiness. Hear the rooster calls and chopstick clicks texturing Cristobal Tapia de Veer's lauded score for the original.

This grittier feel finds its way into the brownish Chicago setting. The original's stunning Technicolor palette is applied to the green fields and the yellow decontamination tents, but looks strangely muted, rarely popping.

Still, the likeable gang, propulsive mystery and the flecks of dark and deadpan humor create an absorbing world. It might be visually duller than the British series and can't take any credit for the imaginative brilliance, but Amazon's Utopia isn't a write-off. Benefitting from a timely release, it grows into something different, with a few twists fans of the original won't see from a mile off.

Utopia hits Amazon Prime Video on Sept. 25.

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Pandemic thriller Utopia on Amazon might be the perfect viewing - CNET

Utopia Red Band Trailer – /FILM

Amazon is ready to take you toUtopia, a new series fromGillian Flynn, adapted from the 2013 British show of the same name. In the series, fans of a comic book discover a conspiracy within the comic is actually real, and now, a group of young fans come together to embark on a high-stakes twisted adventure to use what they uncover to save themselves, each other, and ultimately humanity. A newUtopiared band trailer gives us a blood-drenched look at the series below.

Utopia has had a strange path. The concept originated as a British series in 2013. Then, in 2018, HBO ordered an American remake with David Fincher set to direct. However, budget disputes killed the project over at HBO but it eventually found new life on Amazon. Fincher is no longer involved, butGone Girl writer Gillian Flynn, who was going to work with Fincher on the HBO version, remained on board. And now,Utopia is gearing up to arrive on Amazon Prime Video onSeptember 25, 2020.

My idea was to not only Americanize it and deal with things that I think specifically feel resonant with Americans in a lot of ways, but also to make it gritty, and dirty, and nasty, in a very realistic way, Flynn said. Whereas [Dennis Kelly] took his cue from graphic novels themselves, I took my cue more from the 70s paranoia thrillers I loved that came out after Watergate, in that era where no one trusted anyone and there was a breakdown in what society, the government, and the world was feeling like. I wanted that paranoia to feel very real and to be able to access that through each different character.

Heres the synopsis:

Utopiacenters on a group of comic fans who meet online and bond over their obsession of a seemingly fictional comic called, Utopia. Together, Ian (Dan Byrd), Becky (Ashleigh LaThrop), Samantha (Jessica Rothe), Wilson Wilson (Desmin Borges) and Grant (Javon Wanna Walton) unearth hidden meanings cloaked within the pages of Utopia, predicting threats to humanity. They realize these are not just the makings of a conspiracy; they are very real dangers coming alive right now in their world. The high-stakes adventure brings the group face-to-face with the comics famed central character, Jessica Hyde (Sasha Lane), who joins them on their mission to save the world while harboring secrets of her own.

While Im a big fan of Flynn, and I love a lot of people in this cast, Im still not sold onUtopia, even after this trailer full of bonkers violence and all sorts of other mayhem. Maybe itll surprise me.

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Utopia Red Band Trailer - /FILM

4 Films You Need to Watch This Fall – The Atlantic

Read: David Byrnes joyful and uncomfortable reinvention of the rock concert

This tension is at the heart of American Utopia, as is Byrnes distress over our disconnected modern world. Throughout the show, he champions the joys of collaboration and communality. At one point, he notes that most of the performers (including himself) are immigrants. At another, he decries Americas low voting numbers and informs the audience members that they can register to vote on-site once the concert is over. The film builds to a cover of Janelle Mones protest song Hell You Talmbout, during which performers chant the names of Black people who were killed by police or died in their custody, including Freddie Gray and Sandra Bland; Lees camera cuts away from the theater and shows the victims loved ones holding up photographs of those they lost.

Through each beautifully choreographed song, Byrne demonstrates the thrill of watching people perform in sync. But he tempers that glee with stark reminders of how much remains broken outside of his theatrical space, and how much work remains to be doneby others and by himself. The films premiere came shortly after Byrne apologized on Twitter for a newly resurfaced clip of him appearing in blackface in a 1984 video: Like I say at the end of our Broadway show American Utopia, I need to change too and I believe I have changed since then. In an interview with Variety, he addressed the responsibility he has as an artist talking about racial justice to own up to his mistakes.If Im going to talk about this stuff, I cant talk about giving advice to other people if I cant do it myself, Byrne said.

Along with American Utopia, the most highly anticipated premiere at TIFF was Chlo Zhaos Nomadland, which won the top prize at the Venice Film Festival and will be released on December 4. Zhaos previous movie, the heart-wrenching modern Western The Rider, was one of the best films of 2018 and made enough of a splash to get her a gig making a giant blockbuster for Marvel (The Eternals, due out next year). In between those projects, she quietly made Nomadland, working with its star, Frances McDormand, to adapt a nonfiction book by Jessica Bruder about older transient workers displaced by the 2008 recession and living in cars. The film is a worthy exploration of the lost American dream, focusing on communities laid to waste by an economic crisis the country has already begun to forget.

Read: The Rider was one of the best films of 2018

Nomadland was filmed with a tiny crew that moved across seven states for four months and mostly features nonactors appearing as themselves. McDormand plays Fern, a woman still mourning the Nevada company town she left behind after its Sheetrock factory closed and her husband died. Zhaos film is a requiem for Ferns former way of life and a celebration of the new existence shes found, living in her van and moving from job to job as the seasons change. The open road has long been a mythic environment for cinema, and Nomadland captures many staggering, romantic vistas on Ferns journey. But Zhao also visits mundane localesparking lots, Laundromats, an Amazon packaging factory where Fern picks up shifts at Christmas. In the classic American Western, endless possibility always lies ahead; Nomadland is a modest yet powerful portrayal of Ferns determined effort to cling to the only thing she has left: her independence.

While Nomadland renders the inherent contradictions of America visually, Regina Kings directorial debut, One Night in Miami, does so in words. Kings film, which will be released by Amazon later this year, imagines a fictional meeting between historical heavyweights: Sam Cooke (played by Leslie Odom Jr.), Malcolm X (Kingsley Ben-Adir), Jim Brown (Aldis Hodge), and Cassius Clay (Eli Goree), before he was known as Muhammad Ali. Based on Kemp Powerss play of the same name, the film is set after Clays first victory over Sonny Liston, in 1964, when a celebratory hangout turns into a debate over the best way to build a better America.

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4 Films You Need to Watch This Fall - The Atlantic

The Third Day: everything you need to know about Skys new miniseries – The Guardian

Jude Law stars as Sam in Skys The Third Day

Summer 2020 has been a strange one. But the eerily weird summer that Jude Law is having in The Third Day a new Sky original drama from Utopia writer Dennis Kelly and immersive theatre company Punchdrunks artistic director, Felix Barrett could give it a run for its money. Set on the real-life island of Osea, Essex, Law plays city-dweller Sam, who finds himself stranded when the tide cuts Osea off from the mainland. As the islanders gear up for their bizarre festival, Sam begins to realise that the people of Osea are stranger and more dangerous than he first thought.

The Third Day is a unique proposition. Its comprised of three separate but interconnected stories that all take place on Osea. The first, titled Summer, is led by Law, the second, Winter, by Naomie Harris and Autumn is a bold theatrical broadcast event on Sky Arts (Saturday 3 October), orchestrated by immersive theatre company Punchdrunk that takes place between them. Barrett says: Its been a long-held ambition of mine to create a story that would begin on TV, transfer into a live experience, then fold back into TV. We wanted to break the fourth wall of television. The original plan for Autumn was an immersive theatre experience on Osea Island that viewers could attend in person, but due to Covid-19 it has been turned into a filmed, as-live broadcast.

So lets dig a little deeper into the world of The Third Day, and find out what to expect from the first part of the show: Summer.

What is it about?On the surface, The Third Day: Summer is about a man who becomes trapped on a strange island, when all he wants to do is get back to his family. But as anyone who has ever seen a Kelly show before will know, the surface is generally the least interesting part.

Really its a piece about grief: the destructive consequences of not being able to grieve properly and how people deal with loss in very different ways, former Utopia director Marc Munden says. I had this idea that our main guy would have something inside that he was searching for, that was unanswered, Kelly elaborates. If he came to this place and saw what at first seems to be a parochial idyll, he might think there were answers there. But what Sam finds on Osea offers more mind-boggling questions than answers, as we learn that neither the community, with their odd twist on Christianity, or Sam himself, are what they seem. Sams clearly an unreliable narrator in some ways, Munden says. But I wanted to take that further so that the world itself is unreliable and the audience isnt quite sure whether the world they are seeing is true or false. Its not just about him grieving or being unreliable or being a liar, its about you as the audience experiencing the world as he experiences it.

The stars of the showLaw is the star of Summer, and everyone involved is still pinching themselves that he agreed to play the part of Sam. You cant take your eyes off Jude. Hes totally compelling, Munden says. He loves being challenged. He will try anything and be pushed to extremes. He really did live it. I think this is the performance of his life.

Law was the first cast member to sign on and, according to producer Adrian Sturges: Once Jude said yes, the network said we could go after whoever we liked, which turned into an impressive cast made up of Naomie Harris, Emily Watson, Katherine Waterston, Paddy Considine and Paul Kaye. Its always a good testament to the writing when you get your first choices, says Sturges.

The real-life OseaOsea is an island in Essex, connected to the mainland via a Roman causeway, so access to the island is dependent on tides. The Third Day crew took over the whole island during filming, even living there for the duration of the shoot. The series was written with Osea in mind, so very little needed to be done in order to create the look of the show, but there were plenty of logistical challenges.

Both Marc [Munden] and I said it was the hardest shoot weve ever done, says Philippa Lowthorpe, who directs Winter, the final part in the series. It was physically gruelling, she says, but adds that Osea was vital to the look of the film. The haunting landscapes lend the drama the most incredible atmosphere and visual magic.

What to expectNo one seems able to pin The Third Day down to a particular genre. Not even Kelly quite knows how to describe the tone of the show. Its not out and out horror but there are moments when it can be, he muses. Munden settles on the broad term drama, but admits that within that, its a mystery and a thriller. You might call it folk horror, but really thats just there to wrong-foot the audience to make them think they might be about to see something like The Wicker Man. But theres nothing supernatural in the piece. Its much more esoteric and political.

The Third Day is available now on Sky

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The Third Day: everything you need to know about Skys new miniseries - The Guardian

David Byrne and Spike Lee Consider the Oxymoron of "American Utopia" – Hyperallergic

From American Utopia (2020), dir. Spike Lee (all images courtesy Cinetic Media)

Its tempting to say this about any piece of media that brings even a semblance of joy during this terrible year, but David Byrnes American Utopia genuinely feels like a balm. The stage show, which ran from late 2019 to early 2020 at New Yorks Hudson Theatre, exists somewhere between a concert and a musical. Premiering at the Toronto International Film Festivals 2020 online edition, the film adaptation, directed by Spike Lee, is a fascinating deconstruction of live performance, emphasizing negative visual space and human connection over pyrotechnics.

As Byrne takes the stage, the recollection of Jonathan Demmes equally joyous 1984 Talking Heads concert film Stop Making Sense is plain, what with the simple stage assemblage and costuming. Its perhaps a reminder of how things have and havent changed in the time since. But while the original stage show and this film adaptation are absolutely in conversation with Stop Making Sense, Lee still makes it feel distinct. He applies his own visual stamp and a more intimate setup, especially as the show draws closer to its conclusion. He privileges Byrnes audience with unique angles afforded by the camera, getting close-ups, providing new views of the choreography via aerial shots, and generally making this a cinematic experience rather than simply a filmed show. He adds flair to Byrnes minimalist sensibilities.

For his part, Byrne is the same as he ever was humanist, good-humored and often a little self-deprecating, and most of all egalitarian. Hes the focal point of an ensemble, rather than an all-consuming presence. Hes still trying to make sense of the world through Dadaist art, world music, close friends and collaborators, and his audience. The big questions he asks about the American state of being in between the songs provide new context for everything from classics like Burning Down the House and of course Once in a Lifetime to modern collaborations like I Should Watch TV (written with Annie Clark, aka St Vincent) or a retooling of X-Press Zs house track Lazy. Some numbers are updated dissections of modern living, while others are more focused on finding joy in showmanship. Looking at people? Thats the best, Byrne says as This Must Be the Place thunders to life.

For all of American Utopias joy in revisiting these classics, it also has surprising urgency, full of calls to action, specifically around contemporary Black protest. Colin Kaepernick appears on screen as Byrne and his band take a knee and raise their fists, and one of the closing numbers is a cover of Janelle Monaes Hell You Talmbout. That protest song first came out in 2015, and lists some of the Black people killed, mostly by police, up until the point she performed it. Here its updated to include a few names from this year alone: George Floyd, Breonna Taylor, Ahmaud Arbery. The most telling sign of Lees presence is the confrontational construction of this performance, cutting it with scenes of protests featuring people holding gaze with the viewer, carrying placards and pictures of these stolen lives, with many more names in bold red text that engulf the screen.

The term American Utopia is knowingly oxymoronic. A lot of the show is dedicated to wondering how things can be fixed, if they ever will be. But at the same time, its hard to watch Byrnes warm and humanistic performance without grinning from ear to ear. The American Utopia doesnt exist, but for a couple of hours, the possibility feels a little more hopeful. Even such temporary escapism and affirmation is more than welcome.

American Utopia is currently playing as part of the Toronto International Film Festival. It premieres on HBO October 17.

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David Byrne and Spike Lee Consider the Oxymoron of "American Utopia" - Hyperallergic