Katy Perry’s New Music Video Might Just Be Her WILDEST Yet – TeenVogue.com

After months of anticipation, Katy Perry released her new single "Chained to the Rhythm" just a few days ago. Now, she's back to tease the music video, and from what we can tell so far, it's going to at least take place in a fictional amusement park called "Oblivia."

Admission is free See you next Tuesday," Katy wrote on Twitter, noting that the video will be out early next week. The video teaser itself looks like an old fashioned amusement park advertisement. "Do you need an escape? Are you ready to dance your troubles away?" It begins. "Welcome to Oblivia, the world's newest and craziest amusement park." It goes on to tease a few of the rides at the "amusement park," before leaving viewers with a call to action: "So leave your white picket fence and explore utopia."

The name of the park, "Oblivia," may be a play on the word "oblivious," or the saying that "ignorance is bliss." We can assume this because the lyrics of "Chained to the Rhythm" point to a similar theme: "Are we tone deaf? Keep sweeping it under the mat," begins the chorus. "Thought we could do better than that/I hope we can/So comfortable, we're living in a bubble, bubble/So comfortable, we cannot see the trouble, trouble." Of course, there are obvious political undertones here, and Katy has gone so far as to say that this is the era of "Purposeful Pop."

This would not be the first time Katy has used an elaborate fictional setting in a music video before (think of the Candyland set up in "California Girls," or the mazes in "Wide Awake"). It's just a few more days until we see the extent of what Katy and her team have come up with next. In the meantime, put on your rose colored glasses, and check out the whole teaser below!

Related: The Beauty Evolution of Katy Perry, from Teen Dream to Pop Queen

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Katy Perry's New Music Video Might Just Be Her WILDEST Yet - TeenVogue.com

Drought-crazed utopia flushes away common sense – NewHampshire.com

HANOVER Dartmouth Department of Theatre serves up a send-up of greed, political movements, love and musicals in a future where water is worth its weight in gold.

A 25-member cast will sing, dance, pun and romance its way through its production of the Tony Award-winning Urinetown Friday through Feb. 26 in The Moore Theater of the Hopkins Center for the Arts.

The story of a drought-crazed dystopia in which a malevolent company profits from one of humanitys basic needs began in the mind of actor/playwright Greg Kotis when, in the mid-1990s, he took an ill-financed trip to Paris during which the citys pay-per-use toilets were a strain on his meager means.

Back in the States, he shared an idea for a new show with theater friend Mark Hollmann. Deciding to self-produce a production, they got the show accepted to the New York Fringe Festival in 1999.

From the standing ovation opening night, the show became a runaway hit, its popularity moving it first to Off-Broadway, where it won an Obie, and then to almost 1,000 shows on Broadway and multiple Tony wins.

The story centers on a longterm drought, and heartless corporate control of dwindling water resources mean common citizens must pay increasingly steep fees to relieve themselves in sanctioned facilities.

Along the way, the characters make witty, self-aware commentary on the conventions of musical theater and hilariously skewer the genre with numbers reminiscent of Les Miserables, West Side Story, Fiddler on the Roof and Threepenny Opera.

Director Jamie Horton, a Dartmouth theater professor and actor, likes how the satirical treatment still manages to deal with substantial issues. Its unabashedly entertaining but also profound.

That opposition is what makes it the kind of work it is, he said.

In program notes, he elaborated: I have loved this musical since I first saw it in 2003, because of the boldness of the questions it asks, certainly, but even more so because of the brilliance of its form its wit, its sense of humor about itself, its biting, entirely modern, no-holds-barred approach.

In addition to a production team of faculty and visiting theater artists, Dartmouth senior Julie Solomon is serving as associate scenic designer.

In conjunction with Dartmouths staging of the show, a panel discussion titled Our Dystopian Moment: 2017 and the Politics of Urinetown will take place at 4:30 p.m. Tuesday, Feb. 21.

Shows are at 8 p.m. Friday and Saturday and 2 p.m. Sunday. It then continues at 8 p.m. Thursday through Saturday, Feb. 23-25, and 2 p.m. Sunday, Feb. 26.

Tickets are $15, with a $5 discount for youth.

For information, visit hop.dartmouth.edu or call 646-2422.

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Drought-crazed utopia flushes away common sense - NewHampshire.com

New Barbarians: Inside Rolling Stones’ Wild Seventies Spin-Off – RollingStone.com

Remember that time when Ronnie Wood released a solo album, put together a band to promote it that included Keith Richards and fusion bassist Stanley Clarke, and played a bunch of arena shows centered not around Richards but perversely Wood and his songs?

Unless you're the most diehard of Rolling Stones fans, you probably have zero memory of that moment. But Rob Chapman's new book, New Barbarians: Outlaws, Gunslingers and Guitars (Voyageur Press), finally tells the story of one of the most oddball and least-chronicled moments in the Stones' history.

As Chapman details in his art-crammed book, Wood and his new label, Columbia, decided he should play some shows to promote his 1979 solo album, Gimme Some Neck. Richards, who was in between Stones sessions, signed on to his bandmate's ad-hoc group. Richards was also eager to hit the road, because, as Chapman writes, he was "on the run from heroin, [girlfriend] Anita Pallenberg and endless psychotherapy sessions" after his 1977 drug bust in Canada. The band, a truly odd lot of musicians, included two naturals, Faces keyboardist Ian McLagan and on-again, off-again Stones saxman Bobby Keys, along with two others Clarke and Meters drummer Ziggy Modeliste who had barely played rock & roll before.

For a brief moment, Chapman reports, Neil Young almost joined the lineup after stopping into early rehearsals for the tour. He eventually opted out due to the birth of one of his children and the editing chores involved in his then-upcoming concert movie, Rust Never Sleeps. But after Young remarked "you guys are nothing but a bunch of barbarians," the ad-hoc band at least had its name, adding a "New" after learning there was another band called the Barbarians. Ringo Starr and Boz Scaggs also stopped by rehearsals but, like Young, didn't join up.

Over the course of its month-long tour, ending with shows at England's Knebworth Festival on a bill with Led Zeppelin, Southside Johnny and the Asbury Jukes, and Todd Rundgren and Utopia, the New Barbarians crammed in a lifetime of rock & roll. Drugs, booze and private jets were a daily treat; a small room was built near the back of the stage so the band could get high without the audience noticing. When Clarke offered Richards a health shake, Richards just replied, ruefully, "Stanley, Stanley."

As Chapman reports, drama was also part of the recipe. Unsure if Wood's name would sell out arenas, some on their business side began suggesting to reporters that the shows could include "special guests," hinting at Mick Jagger, Bob Dylan and Jimmy Page. None of those musical pals ever materialized, and early in the tour, fans showed their displeasure at not seeing Mick but hearing an hour and a half of Wood originals, covers of blues and country songs, and the very rare Stones cover (usually "Honky Tonk Women"). In Milwaukee, a riot broke out, resulting in 81 arrests and a very pissed-off Richards.

Packed with details of stage designs, offstage and onstage photos and reproductions of tour T-shirts and limousine bills, New Barbarians is surely the last word on one of rock's most oddball superstar tours. As a bonus, it also comes with a 10-track CD of previously unreleased live recordings including Wood's "Mystifies Me" and covers of Chuck Berry's "Sweet Little Rock & Roller" and the blues standard "Rock Me Baby" that revel in the band's proudly sloppy swagger. Would a similar lineup with a similarly quirky set list make it anywhere near a 20,000-seat arena these days? Probably not, which only makes the story of the New Barbarians that much more flabbergasting today.

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Utopia releases its next version of master data governance solution for enterprise asset management – SDTimes.com

Utopia Global, Inc., a leading provider of enterprise data solutions and a long-time SAP partner, has released a new software version of its master data governance solution for enterprise asset management that SAP resells as a solution extension under the name SAP Master Data Governance, enterprise asset management extension by Utopia. The new capabilities in the solution extension will help customers to improve maintenance planning, increase regulatory compliance and advance the delivery of customer services dependent upon high availability of infrastructure, facilities and fleet assets.

This new version of the solution extension adds the ability to create and maintain maintenance plans complete with task lists, items and master data issues commonly associated with preventive and predictive maintenance program work. The enterprise asset management extension introduces the SAP Fiori user experience for selected create, review and approver functions, along with:

The new version of SAP Master Data Governance, enterprise asset management extension is a comprehensive commercially available enterprise asset management extension that integrates with the SAP ERP application and complements existing master data governance data models for material, supplier, customer and finance. It works with the SAP Master Data Governance application, SAP Business Suite powered by SAP HANA and SAP Fiori, and is designed to work with SAP Asset Intelligence Network.

We believe that master data is the DNA of an enterprise. We are very proud of the new release of this solution extension because it responds to client demand for solutions that accelerate movement to the digital economy, Internet of Things, Big Data analytics and commitments to SAP solutions like SAP HANA and SAP Asset Intelligence Network, said Arvind J. Singh, CEO of Utopia Global. We feel this latest version of SAP Master Data Governance, enterprise asset management extension will provide clients with the best tools and methods to build a trusted bridge to SAP HANA adoption.

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Utopia releases its next version of master data governance solution for enterprise asset management - SDTimes.com

Bruno Ganz on New Film About Last Days of East Germany: ‘This Is a Subject That Will Never Let Me Go’ – Variety


Variety
Bruno Ganz on New Film About Last Days of East Germany: 'This Is a Subject That Will Never Let Me Go'
Variety
Capturing the history of East Germany in microcosm, the film, based on an adaptation of Eugen Ruge's bestselling 2011 autobiographical novel, revolves around a 90-year-old communist patriarch who has never lost his belief in the socialist utopia even ...

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Bruno Ganz on New Film About Last Days of East Germany: 'This Is a Subject That Will Never Let Me Go' - Variety

Plotting ‘No-Place’ in ‘Utopia Neighborhood Club’ – Seattle Weekly

A student-curated exhibition at Jacob Lawrence Gallery envisions political grandiosity.

If life-negating political structures are the result of the suppression of imagination, utopias are visions as pushback. At the University of Washingtons Jacob Lawrence Gallery (The Jake), three new curators, Nadia Ahmed, Sarah Faulk, and Anqi Peng, with support from former director Scott Lawrimore and project assistant Justen Waterhouse, have organized an exhibition series on the conceptions and present-day stakes of utopia. On the 100th anniversary of Jacob Lawrences birth, Utopia Neighborhood Club contextualizes utopia within his life. Faulk states, My hope for the relationship between utopia and the institution this show is happening within is that it can foster a community that encourages imagining radical futures.

Utopia is literally nowhere; the word comes from the Greek roots not and place. Often an ideal against which we compare current reality, utopias imagine societal overhauls into structures where the subjects lives are easier. They are fantastical, such as an island nation where queer women live free from men (but with giant kangaroos) in William Moultons Themyscira, or an alternate reality in which native populations in the Congo had learned about steam technology before Belgiums colonization, as imagined in Seattle author Nisi Shawls Everfair. Utopia as a political premise asks us to imagine something radically outside what we know, like universal basic income and prison abolition, and from there sets direction for programmatic goals. Utopias are multifarious, simultaneous, and even contradictory. When Thomas More wrote Utopia almost exactly 500 years ago, reducing the workday to nine hours was one of his farfetched visions.

Shelter-wear prototypes. Tad Hirsch and Mae Boettcher. Photo Courtesy of Jacob Lawrence Gallery.

Utopias are completely relative, Ahmed tells me. Everyone envisions something different for a perfect world. The exhibition series and public programs demonstrate this expansiveness of perspectives. The first iteration of the series exhibited Tad Hirsch and Mae Boettchers shelter-wear prototypes for homeless people, a versatile poncho formed from Tyvek construction material, which suggested the role of the artist in an idealized society as that of social interventionist. In contrast, Zhi Lins quotidian drawings of a kitchen and bedroom during Chinas Cultural Revolution demonstrated the artists preferred embrace of art for arts sake, to stay away from the intervention of the communist government.

How might Jacob Lawrences life inform our understanding of utopia? With a large exhibition at Seattle Art Museum, his profound impact on this city is experiencing a surge of recognition. Lawrence is celebrated for his depictions of 20th-century black Southern life, specifically for his documentation of the Great Migration, the relocation of more than six million black Americans from the South to the industrial North between the late 1910s and the 1970s. As LadiSasha Jones writes in Temporary Art Review, If we can understand the Great Migration at the turn of the 20th century as a radical spatial imaginary, through this lens, the Black city can be framed as an active collective imagining of utopia. During that era, the many arms of racism were still being flexed via brazen laws such as restrictive housing covenants. In response, Jones writes, Organized networks sprang up all across expanding Black urban enclaves and became a part of the fabric of Black survival and ascension in the city.

It was at Utopia House in Harlem, a community center started by three black women, that young Lawrence took painting classes. Building a utopia involves rearranging social codes to either change laws or sidestep them, and this art club, where Lawrence laid the foundation for his training, was one example of the many outerworlds within the country built for and by black people.

Jacob Lawrence (second from left), Harlem, 1933-34. Photograph by Kenneth F. Space. National Archives, Harmon Foundation, College Park, Maryland

In early 2016, Lawrimore brought in as the Jake Legacy Artist-in-Residence artist Steffani Jemison, whose work is inspired by Utopia House; her show Promise Machine, Jones writes, utilizes utopia as a discourse of abstraction within Lawrences work and a century of imagining the Black city. Jemison drew the connection between Lawrences work and the utopian impulse in collective migration and community network-building: within her project, Jemison created reading groups around books such as Black Utopia: Negro Communal Experiments in America by William Pease, Black Empire by George Schuyler, and Light Ahead for the Negro by Edward A. Johnson.

On the Utopia Neighborhood Club website, a quote from cultural critic Stephen Duncombe reads Utopia is No-Place, and therefore it is left up to all of us to find it. It is clear that the curators placed emphasis on all of us. Public programs pack the exhibition series calendar, such as multiple forums on the meanings of neighborhood and club; How to Organize a Public Library with Professor Michael Swaine; and a workshop on DIY Venue Harm Reduction with architect and curator S. Surface. The exhibition series ends with works by Lawrence, including The Legend of John Brown, a 22-part serigraph series depicting the life and contribution of the important abolitionist, and features a gallery talk by Royal Alley-Barnes, former executive director of Langston Hughes Performing Arts Institute and Jacob Lawrences first graduate student.

Utopia Neighborhood Club Opening reception. Courtesy Jacob Lawrence Gallery

Utopianism may seem naive as we question the viability of creating societies separate from the ones weve already clumped together with the bulky shrapnel of history. In recent decades techno-utopianists have dominated the discourse with their zealous belief that technology could bring forth a just society, promising that we can invent our way out of our social problems and that new-media technologies and the Internet contain portals to non-hierarchal cybersocieties. As weve seen this pipe dream rust and corrode, its spirit persists in political partnerships, product marketing, and even art exhibitions that promise disruption of the status quo through invention-solutions.

Nadia Ahmed states her hope that many students outside of the art program will join the conversation: People do not take enough advantage of the Gallery, which is why we wanted to ask what people want from it. What could The Jake become to make itself a more accessible space? This receptiveness to input, instead of a patronizing assertion of solutions, is the first step toward collective accountability.

Im struck by the relationship between the utopian no-place and no-place as a geographic negation, a term for an absence of a national identity by law or faith. There are those with no place in America: the fugitive, the refugee, the immigrant; for these, no-place is the purgatory state of inhabiting a country that has denied your legal stake in it. Utopian thinking carries varying weight depending on whether you believed you ever had a country to lose. When no inhabitable places are in sight, devising new social orders is less an indulgent fantasy exercise than a means of survival.

In America 2017, these ideas are highly relevant. How will Jacob Lawrence Gallery continue to account for the utopian tradition of Lawrences life after this exhibition is over? How can the rich trajectory of utopian thought extend our capacities for imagining and acting beyond what we have known to be possible?

Its useful for me to think of a utopian mindset as one committed to hope, creating new possibilities, and new landscapes, Sarah Faulk says, but with the knowledge an end is probably never going to be in sight. The work never ends. A Student Response Part II The Jake Legacy Residency and The Legend of John Brown + Other Works, Jacob Lawrence Gallery, 1915 N.E. Chelan Lane, jacoblawrencegallery.hotglue.me. Through Sat., March 4. Gallery Talk with Royal Alley-Barnes, 10 11 a.m. Wed., Feb. 15.

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Plotting 'No-Place' in 'Utopia Neighborhood Club' - Seattle Weekly

The Bannon-Trump Arc of History | The American Spectator – American Spectator

How does Donald Trump view history and Americas role in shaping it? No one, including Mr. Trump himself, seems able to answer that. To find a grand vision guiding this administration, one must look to Steve Bannon, Trumps chief strategist and the architect of his campaigns final months before his victory via the Electoral College.

On its cover,Time magazine labeled Bannon The Great Manipulator, and in an accompanying article, the magazine asked if he is the second most powerful man in the world, leading the reader to believe indeed he is. Yet at first blush, Bannon does not fit the stereotype of a Washington, D.C., powerbroker. His hair is disheveled, he frequently ditches a tie, and his face is typically full of scruff, giving him the vibe of an absent-minded professor.

The look is intended to reflect Bannons anti-establishment worldview but it conceals his more elitist roots. After seven years in the Navy and a degree from Harvard Business School, Bannon worked as a Goldman Sachs financier and then as an investment banker on his own. He transitioned to producing films, especially conservative documentaries, and then, in 2012, took over Breitbart News, one of the leading voices of fringe and grassroots conservatism. Trump was a frequent guest on his Breitbart radio talk show, and in August 2016, Bannon was appointed Chief Executive of Donald Trumps presidential campaign.

Donald Trumps populist approach to policy seems to blow in the changing winds of public opinion and outrage without much long-term strategic direction. The real guiding anchor for Trumpism comes from Bannon, the man with Trumps ear. Steve Bannon, and therefore Donald Trump, view history as a repeated cycle of civilizations rising and falling. They believe Americas current cycle is in crisis, threatening Western culture itself, and it is their job to rescue it from global elites intent on liberal, secular exploitation of America and its values.

Bannon dubbed these establishment elites the Party of Davos after the Swiss resort where the World Economic Forum meets. In Trumps inaugural address, which Bannon helped write, he said the wealth of our middle class has been ripped from their homes and then redistributed all across the world. Speaking to the Liberty Restoration Foundation in 2011, Bannon complained about the elites socialism for the very wealthy and socialism for the poor at the expense of common sense, practical, middle-class people. For both Trump and Bannon, capitalism is in crisis mode, and it is a consistent theme in their speeches and interviews.

Part of this economic crisis came about through dependence on government programs redistributing wealth, but in their view, global elites also encourage government-dependent immigrants to flock to the U.S. and other Western countries as a source of cheap labor. The Party of Davos can benefit from immigration and leave working class Americans with the responsibility of integrating them into society and dealing with the alleged crime and corruption that comes with it.

Thus, Bannon and Trump believe the Party of Davos created not only an economic crisis but also a cultural one. Bannons documentaries like the 2010 film Generation Zero frequently focus on American values, which, to him, means capitalism built around Judeo-Christian values and a strong sense of nationalism. At a 2016 South Carolina Tea Party convention, Bannon complained the swells, the investment bankers, the guys from the EU are the same guys who have allowed the complete collapse of the Judeo-Christian West in Europe.

Trump and Bannon do not believe in religious tests nor do they believe that everyone must be Christian. In fact, the two rarely attend religious services themselves and seem to care little for theological matters. Instead, their Judeo-Christian values refer more generally to a moral compass opposed to pluralism and relativism. It especially means opposition to immigrants from different cultural and religious backgrounds.

These economic and cultural crises follow an ancient pattern, they believe, and we are due for a monumental battle to resolve it. The Bannon-Trump worldview has deep roots in the classics, and Bannon delights in drawing from it. Ancient statesmen, philosophers, and historians from Lycurgus, to Heraclitus, to Herodotus, and to Plato all believed that history was cyclical. Repeatedly, over and over again, civilizations rise and fall by losing touch with their hard-working, humble traditions.

According to this theme, war is waged by poor and nomadic people, an able leader unites them into a confederation, and they begin to take on richer neighbors. The united front fights and conquers and then begins to take on the rich, soft, effeminate characteristics of luxury. Having abandoned masculine military virtues and the religious values that once united them and helped them succeed, they begin to look down on those who still hold on to traditional values. The conquerors then become the conquered, and the cycle repeats. Each empire and civilization, in turn, gets overrun by its poorer, but more aggressive and fertile, neighbors. The end is always the same: a fallen civilization that lost touch with its noble values.

If there is a recurring theme that political philosophers throughout history keep telling themselves, this is it, and it is one that Bannon and Trump buy into wholeheartedly. The historian Livy, who experienced the Roman Empire at its height, said that Rome was struggling with its own greatness. A century later, the poet Juvenal said, [W]e are now suffering the calamities of a long peace. Luxury, more deadly than any foe, has laid her hand upon us, and avenges a conquered world. Juvenal fretted that success in life used to depend on military excellence but eventually led, instead, through the loins of a rich woman.

Although this mythology draws from the ancient classics, it keeps modern political scientists busy with their own twists to the theme. As the Cold War ended and the Soviet Union disintegrated, President George H.W. Bush triumphantly declared it was the beginning of a new world order. Political scientist Francis Fukuyama viewed the occasion in even grander terms and tried to break free of the traditional cyclical theme, famously proclaiming in 1989 that the end of the Cold War marked the end of history. In Fukuyamas view, World War II represented a massive struggle between three distinct ideologies: liberal democracy, fascism, and communism. The war destroyed fascism, and 50 years later, Soviet communism failed. For him and many political scientists, history was over. Liberal democracy won and was here to stay. Fukuyama admitted that democracy may suffer temporary setbacks but argued, in the long run, it would become more and more prevalent.

Fukuyamas grand theory envisioned that liberal democracys permanence would also bring globalization and a strong middle class. Since democracies engage in less warfare, war itself would even disappear. The new utopia might be a bit boring, but that is a small price to pay for peace and prosperity.

In 1993, just four years after Fukuyamas End of History proclamation, political scientist Samuel Huntington sought a return to the traditional theme with The Clash of Civilizations. Huntington argued that Fukuyama was wrong and that identity, not ideology, shapes the world. These identities are shaped by history, language, culture, tradition, and, most important, religion. These different civilizations are marked by different views on the relations between God and man, the individual and the group, the citizen and the state, parents and children, husband and wife, as well as differing views of the relative importance of rights and responsibilities, liberty and authority, equality and hierarchy. Huntington concluded, These differences are the product of centuries. They will not soon disappear.

The terrorist attacks of 9/11 seemed to bolster Huntingtons thesis, but the American administrations of George W. Bush and Barack Obama explicitly rejected it, stressing that the United States was fighting violent extremists, not Arabic civilizations or Islam as a religion. However, in Bannon and Trump, we now have an administration, not only believing in that kind of clash of civilizations, but even welcoming it as a way to save the West from an economic and cultural crisis.

For Bannon and Trump, the most powerful theory based on this cycle mythology is one put forward by Neil Howe and William Strauss in their 1997 book The Fourth Turning. Strauss and Howe have a generational theory of American history that predicts repeated cycles lasting about 80 years. Each 80-year cycle has four turnings that are defined by four moods: high, awakening, unraveling, and, finally, crisis.

Following World War II, America experienced a high. The 1960s brought about a tremendous awakening, and then we experienced several decades of unraveling. Now, of course, we must confront the crisis. In Bannons view, this is the fourth time we have confronted the crisis phase, and each time, the stakes and resulting war get more severe. The Strauss-Howe generational theory is featured heavily in Bannons documentaries, and it comes up frequently in his speeches. In a presentation before the Liberty Restoration Foundation, Bannon says, This is the fourth great crisis in American history. We had the revolution, we had the Civil War, we had the Great Depression and World War II. This is the great Fourth Turning in American history.

Subscribing to the latest trendy twist on an old political theory of cycles is not particularly earth-shattering. However, Bannons solution to the supposed crisis has started to gain understandable attention. David Kaiser, the historian interviewed in Generation Zero, told Time magazine, A second, more alarming interaction didnt show up in the film. Bannon had clearly thought a long time both about the domestic potential and the foreign policy implications of Strauss and Howe. More than once during our interview, he pointed out that each of the three preceding crises had involved a great war, and those conflicts had increased in scope from the American Revolution through the Civil War to the Second World War. He expected a new and even bigger war as part of the current crisis, and he did not seem at all fazed by the prospect.

Although Bannon and Trump blame the Party of Davos for causing much of the crisis, the war they envision will not be waged against elites. Instead, the target is radical Islam. In a 2014 Vatican lecture, Bannon said, I think we are in a crisis of the underpinnings of capitalism, and on top of that were now, I believe, at the beginning stages of a global war against Islamic fascism. This may be a little more militant than others. I believe you should take a very, very, very aggressive stance against radical Islam. See whats happening, and you will see were in a war of immense proportions.

Perhaps a global existential war against Islam can be averted, but in Bannon and Trumps view, that will only happen if Americans embrace traditional American values and block those who may not from ever entering the country.

Viewing history through this lens, all of the administrations early goals and executive orders make sense. Ban immigrants from Islamic countries, or at least those most likely to cause trouble. Build a wall along Mexico to stop immigrants and end trade agreements, each viewed as assisting global elites at the expense of the middle class. Bolster the military in preparation for war. In other words, America first.

The Bannon-Trump view of history also accounts for Trumps unusual embrace of Vladimir Putin. Despite Putins many failings, Trump views him as an ally in the war against Islamic extremism. To Trump and Bannon, the European Union seems unaware or uncommitted to addressing the perceived crisis. If they wont stand up for Western civilization, why not enlist Putins help? In his inaugural speech, Trump vowed to unite the civilized world against radical Islamic terrorism, which we will eradicate from the face of the Earth.

Americans of all political stripes now seem to agree we face a crisis of some sort. Trump and Bannon blame the Party of Davos and radical Islam, while their detractors see a different type of crisis spurred by Trump and Bannon themselves. As David Brooks wrote recently, We are in the midst of a great war of national identity.

Martin Luther King, paraphrasing the 19th-century abolitionist Theodore Parker, famously said, The arc of the moral universe is long, but it bends toward justice. Unfortunately, the arc of history seems to be bending toward something other than justice.

Whether you support or oppose Trump and Bannons efforts, the history they seek to bend is fluid. Those who act as if justice or progress is inevitable will be sorely disappointed.

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The Bannon-Trump Arc of History | The American Spectator - American Spectator

British Airways Concorde ‘Alpha Foxtrot’ Arrives at New Bristol Home – AirlineGeeks.com (blog)

The Concorde moving into the Bristol museum (Photo: Airbus/Neil Phillips)

Aerospace Bristol has finally moved the Concorde G-BOAF to its new 19 million home. The last ever Concorde made, G-BOAF, was built in Bristol in 1978. An additional 2 million is still needed to finalize the last bits and pieces of construction. The very complex and important move has been years in the making and was conducted by engineers from both British Airways and Airbus.

Iain Gary, Chairman of Aerospace Bristol, comments, We couldnt be more delighted to the welcome Concorde 216 to her new purpose-built home. With such enthusiasm for Concorde in this country, and particularly in Bristol where she was designed, built and landed for the final time, it is only fitting that this magnificent aircraft should have a permanent home at Filton. I would like to thank all of our donors for helping to make Aerospace Bristol a reality and look forward to welcoming our first visitors on board this summer.

Mark Stewart, General Manager and HR Director, Airbus commented on the completion of the transportation of Concorde 216 to its new home adding,Airbus has been the proud custodian for Alpha Foxtrot since 2003 and has been keen that we could find a permanent location for such a fantastic historical exhibit of Filton engineering skills. After 13 years of caring for the aircraft we are pleased to deliver her to Aerospace Bristol so that people can visit and admire her for years to come.

Bristol Filton has a sizable history in aviation which showed in the earliest days of aviation when the Bristol Boxkite biplanes flew from Filton Airport over the Clifton suspension bridge. Aerospace Bristol said that customers will be transported through more than 100 years of aviation history at Filton Airport, depicting how it first opened in 1910 to when it shut down 5 years ago in 2012. The journey takescustomers through both World Wars, the space race and all the way up to when the airfield closed. Hopefully,this will help inspire a new generation of engineers and aircraft designers by showing people the amazing technological achievements that have been made in aviation from Bristol in the 100 years of its life.

G-BOAF, also known as Concorde 216, was built in 1978 and made its maiden flight in 1979. When it was first built it was registered to British Aerospace under the registration G-BFKX, but when a deal for Singapore Airlines to buy it fell through British Airways had the aircraft re-registered under its current number G-BOAF in June 1980.

Concorde 216 had a troubling start to its career in commercial aviation. It was the first ever Concorde to suffer a rudder separation failure, where a part of the upper rudder detached from the aircraft in flight. Over the following years, similar incidents would take place on all British Airways and Air France Concordes. All aircraft were fitted with new upper and lower rudders, which cost both companies millions of pounds in maintenance.

Concorde 216 was also the first Concorde to receive the new design upgrades following the Air France Concorde crash in July 2000.These new upgrades featured the use of fitting out fuel tanks with kevlar and strengthening the electric cables on the aircrafts gear.

After completing these upgrades on all Concorde aircraft, Concorde 216 was used by British Airways to restart the flying initiative. This, however, did not last. In 2003, Concorde made its last commercial service flight from New York John F Kennedy International Airport to London Heathrow, bringing an end to the era of supersonic commercial travel. The last ever flight of a Concordeaircraft was operated by G-BOAF when the aircraft flew for the last time on Nov. 26, 2003 to its final resting place of Filton Airfield, where it has remained since.

G-BOAF was the first British Airways aircraft to be repainted in the then new British Airways Utopia livery and wears the Union Flag scheme, which is officially called the Chatham Historic Dockyard. This new livery was initially only destined to be used on British Airways fleet of Concordes, but would later become the standard livery for all British Airways aircraft. Since Concorde 216 was the first aircraft in this livery, it has been at the forefront of British Airways publicity and air to air photos.

Tomos has had a keen interest in aviation for over 10 years and 4 years ago he decided to take it to the next level. He currently holds a private pilot's license and is working towards his commercial license.

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British Airways Concorde 'Alpha Foxtrot' Arrives at New Bristol Home - AirlineGeeks.com (blog)

In praise of utopias, not dystopias: Salutin – Toronto Star

Margaret Atwood's dytopian classic The Handmaid's Tale, which is depicted in this promotional photo for the operatic version of the story performed by the Canadian Opera Company, has enjoyed renewed popularity since Donald Trump's election. ( CANADIAN OPERA COMPANY )

Theres something touching in how sales of 1984 have risen since Trump. Amazon is out of stock. Other dystopian novels, like Atwoods The Handmaids Tale, are doing well. Its one way to deal with a shock to the system: buy a book; then, basically, let it sit since it probably wont have much to do with whats spooking you on CNN. Its about the illusion of control.

If you prefer denial, always an option, you could try utopias instead, though they arent selling as briskly. Theres Utopia itself (1516) by Thomas More; Erewhon (1872); News from Nowhere (1890). Glen Newey writes in the London Review that utopias proliferated in the 19th century but today dystopias come a dime a dozen. If youre a rebel, go utopian this season. Of course, there are utopian books and actual utopian experiments.

So Ive been reading Chasing Utopias, by Canadian writer David Leach, a book about an experiment. In 1989, age 20, he lived on an Israeli kibbutz for a year. He isnt Jewish but never mind. For 50 years after Israels founding, a kibbutz, or collective farm, was where youth went to find themselves. It often worked. But that utopian dream crashed as Israel transformed; so 20 years later, Leach returned to see if the magic had died, or just moved along.

There were never many kibbutzim: a few hundred perhaps but they punched above their weight symbolically. They were idealistic and egalitarian: no private property, equal incomes, collective decision-making, and all the kids lived together, separately from parents, since birth.

By 2010, when Leach revisited, most had privatized. No childrens quarters. Equality had vanished, incomes werent identical. Kibbutz members paid fees, like condo owners. Partly, its because Israel abandoned socialist models and became aggressively capitalist.

But the deeper impediment lay in the fact that those idealistic communities were often built, literally, on land that had been unceremoniously taken from Palestinians. Kibbutz members could dig below their homes and find ruins from the village that had been razed. That might be unnerving. Leach describes a kibbutznik who spent the rest of his life trying to force Israelis to confront the ugly reality under their feet. One persons utopia is anothers dystopia- a good reason not to separate the categories rigidly.

The book comes most alive in its second half when Leach, abandoning nostalgia, looks for ways that the idealism of the kibbutz may have funneled into new utopian projects elsewhere in Israel, like a Palestinian architects plan for a 37 km bridge linking Gaza to the West Bank, with benefits for everyone along its way. He sees the vision of utopia rising again.

Hence my preference for utopias; they keep chugging ahead into the future, unlike dystopias, which are meant to forewarn but can as easily depress and demobilize. Both are probably complementary and often flip sides of each other, like a kibbutz winery built over Palestinian olive groves. Dystopias are warnings, utopias are yearnings. Utopias are often well-intended, exhaustively thought-out, yet become disasters. Dystopias are always inadvertent; no one sets out to create a hell, the aim was often a utopia. Thats the charge usually levelled at communist experiments in Cuba, China or the Soviet Union.

One of my favourite utopian books is Fanshen (1966) by U.S. writer and farmer William Hinton. It describes a Chinese village in 1948, as the revolution sweeps through, trying to transform from feudalism to communism, via the deliberations and decisions of its peasant population. They were definitely chasing Utopia. Its fascinating, inconclusive and real. Hinton called it a documentary.

In later years, he returned to the village often, as it stumbled or advanced. He said the problems werent only objective; they lay in ways that the people trying to construct utopia were themselves shaped by nonutopian reality which they could only transcend within limits. So theyd always be inadequate to the task and you should never be surprised by shortfalls, tawdry human failures (including destructive illicit affairs) and screw-ups.

When humans have evolved more, so will their utopias. By then, if the species survives, they might do rather well, so that utopias of our era could start looking unambitious.

Meanwhile do you despair? Retreat into literature and write book versions only? Or go ahead and fail, but be ready to get up and start the chase again. That could be the utopian motto: Go Ahead and Fail.

Rick Salutins column appears every Friday.

The Toronto Star and thestar.com, each property of Toronto Star Newspapers Limited, One Yonge Street, 4th Floor, Toronto, ON, M5E1E6. You can unsubscribe at any time. Please contact us or see our privacy policy for more information.

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In praise of utopias, not dystopias: Salutin - Toronto Star

A notable show BAMPFA’s ‘Hippie Modernism: The Struggle for Utopia’ – Berkeleyside

Untitled, c. 1970; screenprint on paper; 14 x 22 in.; collection of Lincoln Cushing/Docs Populi Arc

Times of political and social turbulence often foster innovative and creative forms of expression. That was undoubtedly true during the years from 1964 to 1974, the period covered by the Berkeley Art Museum and Pacific Film Archives notable new exhibit, Hippie Modernism: The Struggle for Utopia.

The resistance to the buildup of the Vietnam War and the easy availability of mind-altering drugs, glamorized by early counterculture icons such as Ken Kesey and his Merry Pranksters, makes 1964 an apt starting point for the show, while the oil embargo and Nixons resignation in 1974 is an appropriate end date. During those years, the spirit of idealism, mind-expansion, political resistance, new technologies, and electrifying music strongly shaped art, architecture and design, and affected society as a whole. The influence of that period resonates soundly today.

While reducing the era to objects is a tough assignment, Hippie Modernism: The Struggle for Utopia effectively displays about 400 well-researched examples, including installations, photographs, fiber art, books, magazines, posters, film and furniture, with about 80 images augmenting the show in Berkeley (it was originally curated by the Walker Art Center of Minneapolis). Efforts have been made to present mixed media from various countries and to include the full range of the artistic and technological efforts of the era. Its a diverse collection and some of the choices seem a bit obscure, albeit intriguing.

Of particular note are: Ira Cohens 1968 color photograph of Jimmy Hendrixs reflections in a Mylar chamber (above); the 1973 Community Memory Terminal, billed as the first public computerized bulletin board system; J.B. Blunks 1965 carved redwood furniture; many psychedelic rock posters; Gorilla Graphics and Kamikaze Designs powerful anti-war posters; the room-sized Knowledge Box in which visitors are surrounded on three sides by sound and images beamed from 24 slide projectors; and of course, a geodesic dome. The Berkeley pieces include memorabilia of The Diggers, The Cockettes and the 1969 to 1971 Alcatraz occupation.

In addition to numerous public programs, the museum presentation is accompanied by Hippie Modernism: Cinema and Counterculture, 1964 1974, an exciting four-month film series at BAMPFAs 232-seat Barbara Osher Theater. The series, which will run through May 2017, includes documentaries, experimental works, and iconic feature films that explore the social, political, and aesthetic interests of the era. Highlights include BAMPFAs newly completed restoration of Steven Arnolds Luminous Procuress, Haskell Wexlers Medium Cool, Peter Watkinss Punishment Park and Michelangelo Antonionis Zabriskie Point. Same-day admission to the museum is free with a movie ticket.

And dont forget to try the cool new augmented reality app, Free the Love (available now on iOS and shortly on Android) created in conjunction with the exhibit by Goodby Silverstein & Partners and Adobe. The app provides a Love Tour of the Bay Area and allows users to release virtual Love Balloons with personal messages.

The word hippie, apparently coined by the late San Francisco Chronicle columnist, Herb Caen, was intended to be derogatory, but it is positively embraced as part of the title of this exhibit. Those who remember their hippie days will experience a bit of nostalgia when viewing the show, while others will receive an education than is distinctly more complex, imaginative and nuanced than the Hollywood version of the era.

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A notable show BAMPFA's 'Hippie Modernism: The Struggle for Utopia' - Berkeleyside

Revolution: Russian Art review from utopia to the gulag, via teacups – The Guardian

Marginalised Peasants, circa 1930, by Kazimir Malevich. Photograph: State Russian Museum

Lenin stands before a crimson curtain, his hand resting on some papers. It is 1919. A gap in the curtain reveals a demonstration in the street behind, banners aloft. Here he is again, in Petrograd, seated at a table, pencil poised, paper on his knee and more strewn over the table. And there is Stalin, yet more papers piled beside him. What is this thing about leaders posing with documents and pretending to write? Remind you of anybody?

And what do they write? Love letters? shopping lists? To what, in Isaak Brodskys paintings, must they put their names? Theyre writing the future, one supposes, their speeches and five-year plans, their goodbye signatures for the condemned, dead letters all.

Elsewhere in Revolution: Russian Art 1917-1932, at the Royal Academy in London, we see Stalin resting in a wicker armchair, a dog outstretched at his feet. The mutt, in Georgy Rublevs informal 1936 portrait, looks much like a sturgeon. Maybe the leader is thinking of dinner as he glances up from Pravda. Nearby, scenes from Dziga Vertovs 1920s work Film Truth show footage of Lenins state funeral, while Sergei Eisensteins October recreates the revolution.

Photograph: State Historical Museum

It is all happening. Salute the Leader! is stencilled on the gallery wall, in this first section of an episodic, dense and sometimes bewildering show. This is not an exhibition about great art so much as a clamour of ideals and conflict, suppression, subjugation and totalitarianism. It takes us from the October Revolution in 1917 to the gulag, by way of food coupons and propaganda posters, architectural models, film footage, suprematist crockery (one teacup is decorated with cogs and pylons) and thunderingly bad sculpture. There are so many fascinating things here, largely drawn from Russian state collections, that the show might be seen as a corrective to the more narrow focus we often have on avant-garde art in revolutionary Russia.

In a wonderful series of photographs in the next section, Man and Machine, a muscular youth turns a great wheel of industry. Bolts are tightened, cables stretched. Photographs of oily crankshafts and vast generators turn up the tempo. In another of Brodskys paintings, sun catches the muscular back of a superhero worker on a hydroelectric dam. We visit tractor plants and textile factories. Women work at the new machines. Outside, a shirtless boy leads sheep along the street. Modernity and the old world are in conflict. Questions about arts purpose its freedoms and imposed responsibilities vie with one another throughout.

Among the photographs, the social realist and suprematist paintings, the folkloric scenes of Mother Russia and the death of a commissar, the exhibition embraces the contradictions of culture after the revolution, and before socialist realism was announced as the new and only true method in 1934. There is much to surprise, but less as visual pleasure than as a way of conveying the clamour, aspirations and contradictions of the times.

That said, this is a fun show, in spite of the density of the arguments that were waged in the new Russia. For every painting of a flag-bearing bearded Bolshevik, striding over onion-domed churches and crowded streets, there are Kandinskys abstract explosions and Pavel Filonovs crazed, teeming cityscapes, a wonderfully frightening world of boggle-eyed heads and tessellated skylines. One, from 1920-21, is called Formula for the Petrograd Proletariat. Whats the formula? The people look scared. Meanwhile, the thrusting, canted colour stripes of Mikhail Matiushins 1921 Movement in Space depict pure energy and urgency, irrevocable change. These artists, both the better and lesser known avatars of the Russian avant garde, were really going for it.

At one point, we come to a full-size mock-up of an apartment designed by El Lissitzky in 1932. Its clean, bare, multilevel spaces are a diagram for living. To encourage workers to go out and eat communally, the apartment has no kitchen, just a geometry of planes and steel handrails a hygienic machine for bare, uncluttered living. Later, I come to a painting of a man reading at his rustic table, a fish on a plate before him, a bottle and pipe at his side, somewhat different bare necessities to those proposed by Lissitzky.

Painting and film extolled collective farm labour and captured the astonishment that greeted the arrival of the first tractor. But modernity would not be bought so easily: there is nostalgia for disappearing ways of life, sentimental paintings of spring in the birch woods, troika rides in the snow, village carnivals and homely pleasures all contrasted with ration cards, food tax posters, the redolent ephemera of lean times.

Among the technological feats and heroic workers, the shock troopers of industry, the old peasant women and athletes, you find yourself looking for familiar faces in the crowd. They come at you as ghosts: Moisey Nappelbaums black and white portraits of the wonderful poet Anna Akhmatova; theatre director Vsevolod Meyerhold in his leather coat in 1929, giving the camera a reproachful eye. Maybe he was hamming it up. In 1940, Meyerhold was arrested, tortured and killed. Akhmatovas first husband was also killed, while her second Nikolay Punin, the art critic and champion of the avant garde was sent to the gulag in 1949 after he described portraits of state leaders as tasteless. He died there, not long after Stalins death.

In 1932, Punin was one of the organisers of a huge exhibition, Fifteen Years of Artists of the Russian Soviet Republic, filling 33 rooms of the State Museum in Leningrad, as it was then. The exhibition was marked not only by its plurality but by the way the trajectory of art in Soviet Russia was skewed in favour of aesthetic and ideological conservatism. Vladimir Tatlin was excluded, while Kazimir Malevich was marginalised. Even so, the latter mounted an astonishing display of his own work, which has been largely duplicated in one of the high points of the exhibition.

Malevichs last version of the Black Square (the first was painted in 1915, this one dates from 1932) hangs high above our heads. Beside it is his Red Square (Painterly Realism of a Peasant Woman in Two Dimensions, dating from 1915), above a symmetrical array of suprematist and figurative paintings. Even an early cubist work is here. Geometric painting jostles with faceless peasants, reapers and sportsmen clad in clothing designed by the artist. Malevich saw no distinctions between these different styles, his architectural ideas and his work in porcelain. He snuck his imagery in as and where he could, regarding his art as in service to his ideals. This display is a great counterpoint to Tate Moderns 2014 Malevich exhibition.

The plurality of Russian art was, by 1932, on the wane. Rather than suprematism, anodyne paintings of runners, soccer matches, a female shot putter, a girl in a football jersey became the acceptable face of Stalins utopia. Photographs celebrate parades and stadiums. Instead of a clean modernism, a heavy, overblown architecture was on the rise, with a gigantic Lenin towering over a Palace of the Soviets, which was planned to be the tallest building in the world.

At the very end of the show we come to a black box, a tiny cinema called Room of Memory. Inside is a slideshow projecting official mugshots of the exiled, the starved, the murdered in Stalins purges: housewife Olga Pilipenko, a Latvian language teacher, the former chair of the hydrometeorological committee, peasants, short-story writers, poet Osip Mandelstam, Punin the art critic.

It goes on. Beyond, in the gallerys rotunda, hangs a recreation of one of Vladimir Tatlins constructivist gliders, a prototype flying machine he worked on for several years. It circles the white space, part dragonfly, part bat. Tatlin saw it as a flying bicycle for workers, made from steamed, bent ash and fabric. It looks as light as air. It never flew or went anywhere, but turns in a room, endlessly.

Revolution: Russian Art 1917-1932 is at Royal Academy of Arts, London, from 11 February until 17 April.

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Revolution: Russian Art review from utopia to the gulag, via teacups - The Guardian

Brooklyn’s A/D/O Co-Working Space Is Building a Utopia for Creatives of All Kinds – Artsy

One mans utopia is another mans dystopia, said British design critic Alice Rawsthorn two weekends ago at an opening festival for A/D/O, the latest creative co-working space to launch in New York City. What unites the widely varying examples of utopian visions throughout history, said Rawsthorn, is a simple and empowering definition for design: Design is an agent of change, which can help us to make sense of what is happening and turn it to our advantage.

That baseline certainly seems to be the driving force at A/D/O, a multifaceted space whose ambitious setup is best characterized, much like its moniker, with the help of a few backslashes. Backed by the automotive company MINI, the design workspace/accelerator/lecture hall/gallery/restaurant houses many resources in a 23,000-square-foot former warehouse in Greenpoint, Brooklyns Industrial Business Zoneand promises to do things differently.

A/D/O itself offers its own microcosmic and utopian proposal for creatives. An installation of a modular, reconfigurable furniture system by MOS Architects, made from shiny, perforated sheets of aluminum, provides communal seating for the open-plan interiors. Industrial beams are left exposed, in a nod to the original warehouse from which it was transformed by nARCHITECTS. A kaleidoscopic, mirrored skylight calledThe Periscoperefracts a collage of reflections from the street, the rooftop, and the Manhattan skyline in the near distance. The nondescript exterior, made from repurposed brick, features a patchwork mosaic of reshuffled graffiti murals. All told, A/D/O is as much a literal convergence of varying views as it is a metaphoric one.

In addition to shared studio space and a fabrication lab for its members, A/D/O also hosts Urban-X, an in-house startup accelerator co-sponsored by the HAX accelerator based in Shenzhen, China. Norman, an eatery by Scandinavian chefs Frederik Berselius and Klaus Mayer, serves up local seasonal fare. The restaurant, along with the gallery spaces and lecture hall, where A/D/Os Design Academy hosts a recurring series of talks, is open to the public. We are convinced that meaningful design cannot happen in isolation, said Esther Bahne, head of brand strategy and business innovation at MINI.

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Brooklyn's A/D/O Co-Working Space Is Building a Utopia for Creatives of All Kinds - Artsy

The village aiming to create a white utopia – BBC News

The village aiming to create a white utopia
BBC News
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The village aiming to create a white utopia - BBC News

With violin in hand, Mark Menzies finds hope for the future in the past – Los Angeles Times

Music, we all know, can change moods. But can it change minds as well? Just how crazy is it to expect a single violin to coax us toward utopia?

That is the mission of Luigi Nonos 45-minute masterpiece, La Lontananza Nostalgica Utopica Futura: Madrigale per piu Caminantes con Gidon Kremer. The work for solo violin, eight channels of violin-irradiated electronic music and, importantly, eight to 10 music stands was given a rare and wonderfully convincing performance by Mark Menzies on Friday night at Art Share L.A. downtown.

There is a lot to unpack here. La Lontananza was written in 1989, the year before the avant-garde Italian composer died. Also dying at the time was communism, a movement to which the politically intent Nono was devoted. Nostalgic Distant Utopian Future suggests that through distance the hope of the future might be found in the past, or something like that. Nono then calls the score a madrigal for many travelers with Gidon Kremer.

Kremer was the violinist not only for whom La Lontananza was written but with whose sound the piece is infused. Nono devised the eight-channel tape, operated live during performances, from recordings he made of Kremer improvising. The actual score leaves room for a soloist to find his or her own solutions, which means that each new violinist who takes on La Lontananza offers a new utopian vision applied to what went before in Kremers.

The music stands are spread around the performance space, and the violinist moves from one to the next. Six of the stands hold the music for the six sections of the work. The additional two to four have dummy scores. The performers journey is not linear. Menzies lingered between sections. He zigzagged around the space, sometimes stopping at the dummy stands before reaching his destination. No one said Utopia is just around the corner.

The music itself is like an anatomical, physiological and spiritual examination of the violin: what the instrument can do and what it can do to a listener. An imaginative virtuoso is required. The dynamic range is from what is only audible to a dog to the loudest sounds the instrument can humanly make. Everything Nono could think of doing to a violin with a bow, he has the violinist do.

The result is complex and ever changing. There can be the effect of a sweet singing voice and the effect of horror. Pitches that are familiar contend with microtones that are not. The violin is caressed and attacked with every inch of the bow.Parts of the score are skittish. The second section ended with crunching effects.

For the third, Menzies stood directly behind me, playing ghostly calm drones of sustained harmonics that felt as they entered the mind as vibrations bypassing earand auditory nerve. The room itself was suffused by waves of wondrous violin effects on the surround-sound loudspeakers. Rather than rely on the banality of virtual reality, Menzies and Nono produced virtualunreality, the feeling of levitation.

What is past and what is future, what is utopian and what is dystopian in this political theater of the violin and of the mind? Nono doesnt provide the answers. He shows us not where to go but how to go. Instead of being a destination, utopia is a process of opening up to experiencing the unfamiliar.

As to whether music can change minds, it can. John Cage happened to be at the London premiere of La Lontananza in 1990. Three decades earlier he had had a falling out with Nono, but Cage (who famously disavowed music as emotional expression) said after the London concert, I no longer hold a grudge against Luigi.

After 17 years on the faculty of CalArts and a mainstay in the L.A. new music scene, Menzies has returned to his native New Zealand. But he is back in town celebrating his 47th birthday with the ambitious series four in the time of seven, four solo violin and viola recitals of new and old music in seven days.

He had played La Lontananza here in 2003 at a Southwest Chamber Music concert. This time it was in collaboration with the new music collective wasteLAnd, and Menzies had the advantage of a room ideally reverberant and flexible. The executive director of wasteLAnd, composer Scott Worthington, handledthe electronics with alluring flair.

The program began with two short pieces. Ching-Wen Chaos robustly enigmatic violin solo Elegy in Flight, evoking the Buddhist recitation for the dead, and the premiere of a winningly lyrical viola solo, Elegy, written for Menzies by Erik Ulman.

Menzies seven-day odyssey takes him to REDCAT Monday for a mixed program of New Zealand, European and American solo pieces and to Monk Space in Koreatown on Tuesday for three of Bachs solo sonatas and partitas, an early example of the violins penchant for utopian thought.

------------

Mark Menzies

When: 8:30 p.m.Monday atREDCAT, 631 W. 2nd St., L.A. Also at 7 p.m.Tuesday at Monk Space, 4414 W. 2nd St., L.A.

Tickets: $10-$20

Info: (213) 237-2800 or http://www.redcat.org; (213) 925-8562 or http://www.monkspace.com

mark.swed@latimes.com

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With violin in hand, Mark Menzies finds hope for the future in the past - Los Angeles Times

Utopia Pipeline project to bring 300 temporary jobs to New Philadelphia – New Philadelphia Times Reporter

Jon Baker TimesReporter.com staff writer @jbakerTRStaff Reporter

NEW PHILADELPHIA The start of construction of the 215-mile Utopia Pipeline through Tuscarawas, Harrison and Carroll counties will bring more than 300 temporary jobs to the New Philadelphia area.

Kinder Morgan, the company spearheading the project, and its contractor, Minnesota Ltd., will begin Wednesday with the process of removing trees from the pipeline right-of-way.

While work is being done, Minnesota Ltd. will operate a contractor yard in New Philadelphia on 16th Street SW, between the Eagle Truck Stop and the Tuscarawas County Job & Family Services building. It will be located behind Cardinal Fleet Service.

"This is going to be a big project for Ohio," said Allen Fore, vice president of public affairs for Kinder Morgan. "New Philadelphia has a particular significance to the project because we're also going to be locating one of our contractor yards here. Minnesota Ltd. is our contractor for the project. It's a union contractor. It's going to be utilizing union labor, so a lot of local workforce will be part of this.

"We anticipate, once we get up and running, we'll have over 300 workers working out of that construction yard for several months."

He predicted that those workers who come from outside the area will be patronizing local restaurants and hotels and purchasing items at local stores.

"These folks work very hard, but they're also paid well, and they're going to be living in the area temporarily or already residents here, so a it will be a good boon to the economy over the next several months," he said.

Kinder Morgan and Minnesota Ltd. employees gathered Tuesday at the Schoenbrunn Inn and Conference Center for an orientation session, where they were greeted by New Philadelphia Mayor Joel Day.

"I encouraged them to explore New Philadelphia, to come downtown and go to the east side, take in the restaurants and the Performing Arts Center," the mayor said following the meeting. "I asked them to explore New Philadelphia and told them I'm sure you'll be pleased with what you discover."

Day said the contractor yard will mean a boost in revenue for the city through income tax collections and the bed tax. "It gives us more revenue to do things for the city, and it exposes New Philadelphia to more people, which is a good thing. Some of them might move here."

He said he didn't know the exact amount of revenue the project would bring in. "We won't know until they start working and paying. They are well-paid workers, so it'll give us a nice bump."

The Utopia Pipeline will carry ethane gas from the MarkWest processing facility in Cadiz to an existing Kinder Morgan pipeline in northwest Ohio. From there, the ethane will be taken to the Nova Chemicals plant in Windsor, Ontario, where it will be turned into plastics.

Fore expects construction on the pipeline to begin in April or May and it will go into service on Jan. 1, 2018.

The company has already secured 90 percent of the right-of-way from properties owners that is needed for construction, and Fore said the company will reach 100 percent in the next couple of months. Kinder Morgan will have a 50-foot right-of-way for the pipeline and a 50-foot temporary right-of-way for construction.

Fore said Kinder Morgan works closely with property owners, sometimes making adjustments to the route to accommodate their wishes. The company also works with counties and townships on road use agreements and on how to repair roads after the work is done.

"This is a partnership that could potentially last generations," he said. "These pipelines are going to be in service for a very long time, so starting off correctly is in the best interest of the company because these landowner relationships, these relationships with elected officials are going to last a long time."

The pipeline will be buried a minimum of 3 feet underground. It will go to depths of 8 to 10 feet under roads and 30 feet when going under waterways, such as the Tuscarawas River.

Fore said maintenance of the pipeline will be a top priority after it is completed.

"Our pipelines are built to last a very long time," he said. "The reason that they do is because, first of all, you get good quality pipe. This is American-made pipe, good quality pipe. You test it. You make sure it's built to last.

"We also then coat the pipe with an epoxy that avoids corrosion, because if something is going to happen to a pipe, it will be corrosion or an external impact. We also use a highly-trained workforce to build it, to put it together, to weld it. And then we monitor it."

The pipeline will be viewed regularly from the air and the ground. In addition, Kinder Morgan has an internal inspection tool, called a pig, that is able to go through the line periodically to determine if something is not right.

"So there are lots of protections built into these systems that make sure that these things are built to operate safely and are built to last," Fore said.

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Utopia Pipeline project to bring 300 temporary jobs to New Philadelphia - New Philadelphia Times Reporter

‘Stellaris’ Utopia DLC Gets First Trailer; Will Introduce New Buildings And Perks – iDigitalTimes.com

The first teaser trailer for a new Stellaris expansion debuted on Thursday, confirming a new wave of content will soon be headed to the beloved 4X title, but there sure isnt much hard information in the Stellaris: Utopia trailer that Paradox Interactive published this week.

According to Paradox, Utopia offers the most significant changes to Stellaris core gameplay since the game was released in May 2016. In fact, the publisher calls it the games first major expansion and has already outlined much grander changes than weve seen in previous Stellaris add-ons, like the Leviathans story DLC or the Plantoids species pack. The biggest change (both literally and figuratively) will be the players newfound ability to assemble truly enormous space stations, called megastructures, including Dyson spheres and ring worlds.

The next Stellaris expansion also introduces a new set of perks, called Traditions, that Paradox says will ease your species expansion across the stars. Traditions will be enabled/adopted through the use of Unity points; however, we dont currently have any information on how that particularly currency will be collected. Players will also be given more microscopic control over how the rights and policies of their empire are applied across its populace.

For a sneak peek at Stellaris upcoming Utopia DLC, take a minute to watch the first teaser from Paradox Interactive. Head down to the comments and let us know if youre still playing Stellaris with any regularity and/or what youd like to see in Utopia.

Stellaris is currently available on PC, Mac and Linux. The games next expansion, Utopia, does not yet have a release date.

Be sure to check back with iDigitalTimes and follow Scott on Twitter for more Stellaris news throughout 2017 and however long Paradox Interactive supports Stellaris in the years ahead.

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'Stellaris' Utopia DLC Gets First Trailer; Will Introduce New Buildings And Perks - iDigitalTimes.com

JME Will Play Himself In A New Movie About A Vegan Utopia – The FADER

The cast has been announced for comedian Simon Amstell's directorial debut, Carnage: Swallowing The Past. The feature-length satire will debut on BBC iPlayer in the U.K. in the spring and is set in a fictional 2067 where everyone on earth is a vegan. Characters in the film find the idea that humans once ate other animals to be barbaric and beyond comprehension.

Chortle reports that the cast for Amstell's film will include Martin Freeman, Joanna Lumley, Dame Eileen Atkins, Lindsay Duncan, Alex Lawther, Gemma Jones, Linda Basset, Marwan Rizwan, and John Macmillan.

Grime MC and committed vegan JME will play himself with British T.V. personalities Kirsty Wark, Lorraine Kelly, and Vanessa Feltz also making cameos in the film.

Amstell, who will narrate the film himself, is quoted as saying: "I have written and directed a film about veganism. Im sorry."

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JME Will Play Himself In A New Movie About A Vegan Utopia - The FADER

Stellaris: Utopia expansion lets you craft megastructural ringworlds – PC Gamer

Between plantoids, Leviathans, and Alexis Kennedy-inspired Horizon Signals, Stellaris' post-launch updates have grown the space-flung 4x-meets-grand strategy game quite considerably since its May release last year. It's now announced its first major update, Utopia, which encourages players to develop their interstellar empires further still.

With a choice of following a biological path, a psionic path, or a synthetic path"with various options within these broad categories"players will determine how their species evolves and advances by way of 'Ascension Perks'. "Body, Mind or Machinehow will your species challenge the future," asks developer Paradox.

Building new types of space stations and constructions will further aid your domination of the universe, such as Habitat Stations which house larger populations for smaller planets within your increasingly confined empires. New Rights and Privileges keep your populace in check and allow players to choose "an egalitarian paradise or a caste system" and everything in between.

Perhaps the most exciting feature of Utopia, though, is the addition of megastructureswhereby players can build "wondrous" constructs such as Dyson Spheres and ringworlds, both of which add near-impenetrable levels of defence to your worlds.

More information on Stellaris: Utopia can be found this way, including details on the game's free Update 1.5 Banks which ships alongside the new expansion. Utopia is without a concrete launch date and price, however Paradox says both will be revealed at a "later date".

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Stellaris: Utopia expansion lets you craft megastructural ringworlds - PC Gamer

Who is authorized to bind your family business to contracts? – Lexology (registration)

A family business significant commercial relationships are usually reflected in written agreements. But who is authorized to sign those agreements and to bind the company to the terms? Typically, a companys management will have actual authority to sign agreements. However, the company may give the impression to third parties that other employees (for example, purchasing agents, account managers and IT personnel) that those employees have apparent authority to sign contracts relating to their areas of responsibility and thus bind the company to agreements. It is therefore important for family business owners and management to clearly instruct their employees and agents and to communicate to third parties as to whether those employees or agents are authorized to sign contracts and other important documents on the companys behalf.

A recent trial court decision from New York Utopia Home Care, Inc. v. Revival Home Health Care, Inc. highlights the confusion and potential for liability that can arise when an employee signs a document on a companys behalf without express authority to do so. According to the Courts decision, Utopia is a family owned and operated business, with its president, her father and her brother being the companys sole stockholders and officers. Utopia provided home care services for patients referred by Revival. A written contract, signed by Utopias president, provided the terms of payment for these services.

After Utopia provided certain services, it sent invoices to Revival totaling over $60,000, which Revival refused to pay. Utopia filed a lawsuit to collect the unpaid balance. Revival defended by pointing to a document that it claimed was a written amendment to the contract that reduced the time within which Utopia must submit an invoice in order to receive payment. This amendment was signed by an employee who, Utopia claimed, was an administrator for [Utopias] New York offices only . . . and [who] had no authority to negotiate or approve any contract amendments.

According to Utopias president, only the family member owners and shareholders were authorized to enter into contracts on Utopias behalf and to bind the company. The Court credited this testimony and found that the administrator who signed the amendment was not authorized to sign it and thus could not bind Utopia to the shorter time limits for submitting invoices for payment. The Court noted that neither party called the administrator as a witness and further stated how it was somewhat remarkable that the key witness as to the issue of agency, authority, [and] apparent authority . . . was not called.

It is not clear how the Court would have ruled had the administrator been called as a witness, but one expects that Revival would have attempted to make it clear through that witness or others that Utopia represented or gave the impression that the administrator was authorized to sign the amendment and to bind the company to the change in payment terms. Such testimony, if the Court believed it, may have led the Court to rule that Utopia was in fact bound by the claimed amendment and thus not entitled to collect on the late requests for payment. Instead, the Court entered judgment in Utopias favor for the full amount of the unpaid invoices, concluding that the amendment was not effective to bar payment.

One takeaway from this case is that a family business should clearly notify all employees that only certain company personnel such as the family member owners and managers in Utopias case are authorized to sign any contracts, amendments or other legally binding documents on the companys behalf. The company also should take steps to not give the impression to third parties that unauthorized personnel actually do have the ability to sign and bind the company to agreements. Finally, the company should put oversight processes into place to ensure that such limitations on contract signing are enforced. By doing so, family businesses may be able to avoid claims that they are bound to terms of agreements that they did not intend to enter.

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Who is authorized to bind your family business to contracts? - Lexology (registration)

Meanwhile in Canada Things Are Just as Bad – New York Times


New York Times
Meanwhile in Canada Things Are Just as Bad
New York Times
But the belief that Canada is a liberal utopia holds only if you have no concept of Canadian history and little knowledge of current events, and only if you walk through its cities and towns without speaking to anyone who isn't white, middle class or male.

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Meanwhile in Canada Things Are Just as Bad - New York Times