Category Archives: New Utopia

After an 18-month-long shutdown, the longest in theatres history, Broadway is returning in full swing this fall. New shows and classic favorites alike will open and reopen this month, ushering in a new era for Broadway. Beyond the Theatre District, numerous Off-Broadway theatres are celebrating the return to live performances with new in-person productions, and comedy shows, concerts, and more special events are also opening throughout the city. You can become part of the great return, too check out our top picks for New York theatre in September 2021.

Many of your favorite shows are back and brighter than ever. Long-running blockbusters, Disney classics, and recent hits are all returning to Broadway and are ready to welcome new and returning audiences alike.

Broadways never ever getting rid of Waitress! After a Tony-nominated four-year run at the Brooks Atkinson Theatre, Waitress is opening up once more at the Ethel Barrymore Theatre. Through October 17, Sara Bareilles will return as the savvy pie chef Jenna who bakes her way through a rocky pregnancy and an even rockier marriage.

Ethel Barrymore Theatre, from September 2.

Waitress tickets are on sale now.

Hadestown was livin it up on top in 2019 when it won 8 Tony Awards out of 14 nominations and became the most talked-about musical of the year. Anas Mitchells adaptation of the Orpheus and Eurydice myth, set in an industrial underworld with folk and jazz music, is ready to take audiences way down to Hadestown again. Original Broadway cast members Reeve Carney, Eva Noblezada, Patrick Page, Amber Gray, and Andr De Shields will all return to their fabled roles.

Walter Kerr Theatre, from September 2.

Retake your place in the circle of life at The Lion King. Its story of a young cub who aspires to lead his fathers animal kingdom one day has become a staple of the Disney canon. The musical adaptation features all the films most beloved songs including Hakuna Matata, Circle of Life, and I Just Cant Wait to Be King and is bound to delight audiences of all ages.

Minskoff Theatre, from September 14.

The Lion King tickets are on sale now.

Lin-Manuel Mirandas groundbreaking hip-hop history lesson Hamilton will return to Broadway September 14. Fans worldwide got to experience the modern retelling of the Founding Fathers story on Disney+ last summer and can now once again see it live. Still one of Broadways hottest tickets more than six years after its opening, Hamilton has cemented its own place in the history books.

Richard Rodgers Theatre, from September 14.

Get ready to defy gravity, as the ever-popular Wicked is back on Broadway. Dance through life, or at least through two and a half hours, with Elphaba and Glinda in this blockbuster prequel to The Wizard of Oz. Before they were known as the Good and Wicked Witches, The Tin Man, The Scarecrow and more, the citizens of Oz were friends and schoolmates, and their story has put a spell on audiences for nearly 20 years.

Gershwin Theatre, from September 14.

Wicked tickets are on sale now.

Broadways longest-running American musical is back with all that jazz. The reopening cast of Chicago includes Tony winner Lillias White as Matron Mama Morton, Ana Villafae as Roxie Hart, and Bianca Marroqun, a longtime Roxie, now debuting as Velma Kelly.

Ambassador Theatre, from September 14.

Chicago tickets are on sale now.

Talking Heads frontman David Byrne debuted his theatrical concert, American Utopia, on Broadway in 2019 for a limited run, and the production was filmed for streaming in 2020. Byrne and his 11-person ensemble now return to the New York stage for one more limited engagement through March 5, 2022. The group performs songs from Byrnes album of the same name along with hits from throughout his career.

St. James Theatre, from September 17.

David Byrnes American Utopia tickets are on sale now.

Come From Away is finally returning to Broadway, telling a story of personal connection that is just what the world needs after months of isolation. The musical tells the true account of a Newfoundland town that welcomed hundreds of people displaced by 9/11. The show has welcomed audiences from all over the world since 2017, and it is ready to welcome you back to the rock, too.

Gerald Schoenfeld Theatre, from September 21.

Bohemians, lovers, dreamers, muses, and artists welcome back to the Moulin Rouge! The glamorous musical adaptation of Baz Luhrmanns iconic film will take theatergoers into the glitzy and raucous Parisian club where the writer Christian becomes enchanted with the star performer, Satine. The shows score features more than 70 classic and contemporary pop songs to bring the 1900s to today.

Al Hirschfeld Theatre, from September 24.

Moulin Rouge! The Musical tickets are on sale now.

Take a magic carpet ride at the New Amsterdam Theatre with Aladdin on Broadway. The poor street-dweller Aladdin discovers a genie in a magic lamp, and Aladdin is given three wishes to get himself the noble life and the princess he desires. Audiences will recognize all the films hit songs like Friend Like Me and Prince Ali, but the live Broadway experience of the Disney tale is A Whole New World.

New Amsterdam Theatre, from September 28.

Aladdin tickets are on sale now.

A new theatre season is beginning, and many new shows are ready to make their premieres. From highly-anticipated West End transfers to original musicals to a special concert celebration, theres plenty of new Broadway and Off-Broadway theatre to discover for the first time.

Known for his work co-creating Chappelles Show and his own solo stand-up special 3 Mics, comedian Neal Brennan returns to the stage with a new theatrical comedy show, Neal Brennan: Unacceptable. With true stories from Brennans childhood through the present, he honestly yet humorously discusses feelings of loneliness in an attempt to understand them.

Cherry Lane Theatre, from August 25.

Neal Brennan: Unacceptable tickets are on sale now. Rush tickets are available on TodayTix.

Daniel J. Watts stars alongside the show's playwright, Ngozi Anyanwu, in a story about two people deciding whether to stay in a relationship or let go of the thing they love most, as painful as the goodbye may be.

Linda Gross Theater, from August 26.

The Last of the Love Letterstickets are on sale now.

Award-winning actor, playwright, and director Ruben Santiago-Hudson returns to Broadway with a new solo show. He plays more than 20 characters in the autobiographical story of Nanny, the woman who welcomed a young Santiago-Hudson into her upstate New York home and raised him. This tribute to Nannys compassion and Santiago-Hudsons youth also features original blues music by Bill Sims., Jr.

Samuel J. Friedman Theatre, from September 14.

Thirteen years after Second Stage Theater premiered Rajiv Josephs play Animals Out of Paper, the company is presenting its companion play, Letters of Suresh. Told through a series of letters between family members, friends, and strangers, the play is a story of people seeking connection and hope as a city they love is consumed by war.

Tony Kiser Theater, from September 14.

Letters of Suresh tickets are on sale now.

Curtain Up! is a three-day celebration of Broadways reopening that will include live concerts and performances, panels, and interactive experiences. The free outdoor festival will take place in Times Square from Friday, September 17 to Sunday, September 19 with a host of theatre talent.

Times Square, from September 17.

After enjoying a hit West End run, multiple tours across the globe, and multiple productions in America, the fast-rising phenomenon Six is finally opening on Broadway, 18 months after its original opening night was canceled by the shutdown only hours before curtain. Now, audiences can get down with the Queens, Henry VIIIs six wives, in their 80-minute pop song competition to determine who had it the worst as the kings bride.

Brooks Atkinson Theatre, from September 17.

The first new musical to premiere in New York since the Broadway shutdown is making a celestial debut off Broadway. Two commercial jingle writers dream of their big break, which comes when pop star Regina Comet taps them to write a jingle for her new perfume line. Ben Fankhauser and Alex Wyse wrote the musical and star as the hopeful songwriters alongside Bryonha Marie Parham as Regina Comet.

DR2 Theatre, from September 17.

A Commercial Jingle for Regina Comet tickets are on sale now.

This three-part saga, told as one theatrical piece, follows the rise and fall of the Lehman Brothers financial institution. Told over 164 years spanning multiple generations of a single immigrant family, the story highlights the businesss greatest successes and its eventual bankruptcy that inflamed the 2008 financial crisis. The production had an acclaimed run on the West End, and two actors from the production Simon Russell Beale and Adam Godley will reprise their roles, joining Adrian Lester in his Broadway debut.

Nederlander Theatre, from September 25.

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New York theatre to see in September | NewYorkTheaterGuide.com - New York Theatre Guide

Its interesting whenever Elon Musks name comes up and people begin discussing his accomplishments, such as the reinvention of money, automobiles and space travel, theres always someone who says: Yeah, but I hear he can be a real dick.

Take that, Elon.

So then, lets be totally honest here, because in your heart, you know, and I know, dear reader, that you can be a real dick, too. So can I, and, if were being truly honest, so can, say, the Queen. She probably has to be a dick 10 times a week. So since when does being a dick somehow invalidate you as a person? It doesnt. Thats just stupid. And whats in it for you to dis someone you dont know, anyway? Being negative is a stupid persons way of trying to appear smart without actually being smart. And lets also be certain about something else: we all hate a goody two-shoes, so come on, what kind of perfect behaviour is it you expect from a person, any person, let alone Elon Musk?

Elon Musk is actually terrible at publicity. His Cybertruck launch was a disaster, and the Tesla in space thing was cringey. When being interviewed hes opaque, overly techy and difficult to connect with Richard Branson is a million times better with publicity, but theres something about Musk that makes Branson seem a thousand years old.

Hes terrible at that, too. After the deplatforming of Donald Trump, Musk is undebateably the planets alpha tweeter. One of those Kardashian people can make a line of armpit hair remover go viral, but Musk can generate or destroy billions of dollars of wealth in three or four words. Why on earth would he bother wasting three brain cells trying to manipulate the media? As well, his often-lame tweets frequently backfire, as hes the first to attest with his all too true tweet: Tweeting on Ambien isnt wise. Musk doesnt need to manipulate the media because what he does is fantastically interesting. He isnt someone who needs to fish for press.

a) So, what if he is? But, b) He isnt. Hes just doing what he does. Hes also, at the time of writing, the second richest person on Earth. He probably got used to going to the candy store and buying 10 of everything a long time ago. He lives modestly. He always reinvests in his own ideas and his ideas are good.

Grow up.

Musk didnt just generate a few fundamental patents and move to Santa Barbara to golf for the rest of his life. Every day he tries to reinvent the wheel and its working. Shopped online lately? Ever wanted to visit the International Space Station? Want a new car? With cars alone, Musk pretty much single-handedly shamed and forced the global auto industry to accelerate the electric car rollout by seven to 10 years. Yet people kvetch, and it makes me wonder if there is something fundamentally flawed about our era that it is almost impossible to get people to say something nice about pretty much anyone else. A like given to someone else is a like that could have instead gone to oneself, which I suppose indicates that theres something fundamentally different about selfhood than, say, 25 years ago. I pick 1996 because it seems to me to have been the acme of the celebrity profile remember them? In Vanity Fair, say. The glossy cover. The fawning. The expectation of dirt revealed. Will they backstab? Even the interviewers were famous for interviewing, and it all feels like a million years ago. Are there any celebrity interviewers left? Oprah, I guess, but her heart doesnt seem to really be in it, and she now seems to be merely an enabling conduit for the Megan-and-Harry feelings politics that blights our era.

First, we already discussed this: he can be a dick, so dont be surprised when he is. Second, people know theyre going to be working with Elon Musk, so they cant play woe is me if he goes Elon on them. And third, hes incredibly smart and is used to working with the worlds smartest and most accomplished people, so if you dont cut the mustard then you didnt cut the mustard. And heres something funny he actually said to someone who was pissing him off in the Tesla factory: You know, I could be drinking mai tais with naked supermodels, but instead Im here with you. He has a point.

Dear God, is this what our society has been reduced to?

Hes a good father with six sons: triplets, twins and one solo. A first son died of Sids at the age of 10 weeks.

He has been married to two women (his second wife twice).

He is famous for his need to be in love and for being unable to sleep alone.

He spent his 47th birthday in his factory fixing robots for 24 hours.

He loves his mother, who is a top global fashion model at 73.

He sees no future in fossil fuels.

He hates visible seams on his products.

He swears a lot.

In 2018 his tunnel-drilling company, the Boring Company, sold 20,000 novelty flamethrowers as a publicity stunt. They now sell on eBay at an average of $3,000.

No, hes not. The left doesnt like him because he doesnt fund them or show interest in their causes. And the right doesnt like him because he messes around with the stock market and doesnt take classical capitalism seriously. For example, he thinks short selling the stock market should be banned. Musk donates to Democrats and Republicans only because its the cost of having a voice in government. He seems to see left versus right as an obsolete binary and instead focuses his altruistic energies on ecology and invention. He seems to be more about the systems that create signals rather than the signals themselves.

I know, saving the world could anything be more Megan-and-Harry? But Musk isnt trying to save the world, only to make it better. Musk has created three multibillion-dollar companies in four profoundly difficult fields in which to create anything. And these companies are successful, usually without help from the people we once considered gatekeepers. Like lots of people who do lots of things, hes too busy for elaborate introspection.

This is actually the most baffling thing about Musk: whats his deal with Mars? He loves discussing the creation of new platforms for humans elsewhere in the cosmos. He wants humans to be multiplanetary, telling Rolling Stone: There have been five mass-extinction events in the fossil record. People have no comprehension of these things. Unless youre a cockroach or a mushroom or a sponge youre fucked. So, I guess hes expecting a mass extinction event soon, but really though, arent we all? *Nervous chuckle* Well, maybe not. But his Martian plans will probably happen soon enough, and if nothing else have spurred great general discussion on just what sort of person it takes to go to Mars on what is most likely a one-way trip. I know nothing about therapy, but it strikes me that perhaps Musk sees himself as a prime candidate. This is maybe reading too much into it. Maybe he simply thinks its a cool idea. Sometimes its that simple.

This is true. But Zowie Bowie turned out just fine, so why shouldnt X AE A-XII Musk?

OK, but what if hes right? The radio gave us Hitler. The internet gave us the past five years. Maybe AI will happily surprise us, but Musk only foresees a 5-10% chance of humans being able to contain AI and make it safe. It will possibly do this using the systems devised by his non-profit, Neuralink, which aims to create mind/machine interfaces. So combatting potential AI enslavement down the road may seem quixotic, but frankly, why not give it a go?

Hes done more than his share down here, if nothing else, making great leaps at reducing fossil fuel consumption, but I have no idea if he recycles rubbish at his house wherever he lives. What if he didnt? Thats right: that would make him a terrible human being. We could go jump on him and beat him with sticks.

If you search for Musk online comment threads on, say, Reddit, youll quickly sense the presence of teenage male body sprays and stained gym socks. Its incel heaven. Adult voices discussing Musk are rare, and it seems the vast bulk of Musk commentary centres on bitcoin and cryptocurrencies and yes, I can hear you stifling a yawn, but were stuck with these things, so wed better cobble together some sort of peace deal with them. Cryptocurrency does seem to be the one topic where Musk genuinely enjoys messing with peoples minds as well as with stock market regulators. I suspect that he doesnt have a stand on crypto at all my guess is that he sees cryptocurrencies as being interesting simply because they exist at all, like Klein bottles or those Japanese Kit-Kats in flavours such as pumpkin or green tea. Regardless, Musks public toxic trolls included seem to adore his ongoing dance of taunts and teases and hints and theyd have it no other way, especially with a crypto called dogecoin, which is like Daffy Duck to b itcoins Bugs Bunny, and the two are locked in an eternal battle for relevance, and even onlooking Belarusian troll farmers must be thinking: Wow. We were going to fabricate a pseudo-conflict between these two things, but it looks like the real world is already doing it for us. Moi slezy ne soderzhat antibiotikov! *

Its also interesting to note that when Musk posts big events in his life on Twitter, successful experimental space launches, say, his detractors will post things like a photo of a Tesla Model 3 whose real wheels went off a suburban garden ledge a photo appended by vitriolic meta-commentary along the lines of: My moms Roomba has better edge detection than a Tesla. #VeryDisappointed.

PS: Musk is already worth $185bn.

* My teardrops contain no antibiotics!

*Cringe* Hearing this makes it feel like its the 1920s and were comparing Vanderbilts with Rockefellers. But, having said this, I will admit that there is a deeply concealed dark part of my soul that aches for Bezos and Musk to even somewhat resemble that blank-eyed, walrus-mustached plutocrat who haunts the Monopoly game board, but alas, that is not going to happen. Both men seem to dress exclusively from Tommy Hilfiger shops at outlet malls. Maybe Lauren Snchez buys Bezoss shirts in those hotel lobby stores in coastal resort towns but honestly, even if youre the two richest unmarried guys on Earth, whose job is it to pull your wardrobe anyway? Your girlfriends? No. So who? A personal assistant? Your mum? Its actually kind of a miracle that new clothing ever even appear in these guys dressing rooms to begin with. But this doesnt directly address the Bezos/Musk rivalry, which I dont think actually exists. It technically seems like it could be a good rivalry, but they both made their money in such different ways (and remember, money is a primary lens through which we view them) that it feels wrong to lump them together. Bezos is like your mums leathery third boyfriend after her divorce, while Musk is your maths tutor who won the Powerball lottery. Zero overlap.

People want to believe that, but heres the thing: Musk has a huge IQ. He is measurably, scientifically, clinically and demonstrably the smartest person in any room anywhere. He can tell you the square root of your Amex card number at a glance. He can tell you, I dont know the square root of zinc. He has mild Aspergers, which prevents him from snagging on details and talking himself out of trying new things. Hes a perfect storm who comes from about as middle class a family as was possible in the late 20th century, so you cant beat him with sticks. His family was like scores of millions and then he became one of the richest people on Earth.

I think the biggest difference between the 20th century and the 21st is that in the 20th century you were able to see the future in your head. There were new ways of envisioning, say, an information utopia or an ecological harmonisation of humans with everything non-human. But here in the 21st century were only able to possibly glimpse a small workable future, and even then only if we work at it incredibly hard. Thats a huge difference in looking at what lies down the road. Musks appeal is that he still sees both the future as well as a future albeit a future on Mars, which has 38% of the gravity of Earth and about 1% of its atmosphere. And wifi back and forth to Earth would take six-and-a-half minutes each way. Hardly smoking hot, so good luck watching random episodes of The Big Bang Theory while real-time wisecracking with your former cubicle mates back in Palo Alto.

On 28 June, Musk turned 50. He has at least three more high-functioning decades to go. More likely five or six, so were not even halfway through his movie. Pundits who think hell soon be over are either naive or assassins.

Douglas Couplands Binge: 60 Stories to Make Your Head Feel Different will be available in the UK in October via Amazon

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'The smartest person in any room anywhere': in defence of Elon Musk, by Douglas Coupland - The Guardian

"When it comes to development, when you do it right, it really is a rising-tide-lift-all-boats type of scenario," said Stef Halmos, the artist and developer who, in 2017, began transforming three abandoned mills in the Village of Catskill into an 85,000 square-foot arts campus called Foreland that opened this month.

"I feel like the ripple effect of Foreland will be very positive just by the nature of who occupies these buildings and what the mission is of their new use."

These three buildings, two of which are now connected by a floating glass pedestrian bridge, were constructed in the mid-1800s and originally used to produce uniforms for Union Soldiers during the Civil War. They were empty for decades before Halmos re-imagined and revitalized them to house 30 artists' studios, three art galleries, two event spaces, and two eateries one cafe that is already open, and a restaurant that will follow.

Related: Exploring the mellow mountain village of Catskill

"The Foreland building has been under construction by multiple contractors for the past 15 years, Patrick McCulloch, Village of Catskill Planning Board Chairman told Times Union: Hudson Valley via email. Stef Halmos had the right vision to take over this project and see it to completion.

Now that it is finally complete, the challenge will be to keep the entire operation afloat especially in a mellow little river town like Catskill. And yet, Halmos has more than high hopes. She has real estate development in her blood, an artistic vision that celebrates both old and new, and a vested interest in improving the village where she set down roots with her wife and toddler.

"It's a complex eco-system with a lot going on to make these old buildings be alive," Halmos noted. "Multiple revenue streams keep the project stable." The galleries and caf will give the public access to the space, bringing life into Foreland after four years of development. And this coming weekend, Saturday, August 28 and Sunday, August 29 from 11 a.m. to 8 p.m., Foreland is partnering with Upstate Art Weekendand New Art Dealers Alliance (NADA)on an exhibition featuring artists working in Upstate New York.

"There are over 100 artists that are exhibiting and just by the nature of the exhibition, you'll be able to walk through two of our three buildings," Halmos said.

Caitlin MacBride is among the artists who have rented out one of Foreland's 30 artist studios. "I love the historical details of it being an old mill because so many of my paintings are about history and design, so this environment really inspires me, she said. Pictured is her painting, Mill," 2021, oil on panel, that will be included in Foreland and NADA Art's exhibition during Upstate Art Weekend.

Visitors can also check out Foreland's inaugural show in the ground floor gallery, a joint exhibition between Rachel Uffnerand Mrs.

While there's definitely an element of pie-in-the-sky artistic-utopia vibe built into the Foreland's vision board, there's also a business sensibility behind the project, too. Those visiting Foreland's campus could potentially become future studio renters, or they may keep Foreland in mind for future weddings and parties, or at the very least they might support their in-house caf, Willa's, by grabbing a coffee and a snack.

Foreland's heart and soul is in its affordable art studios, which Halmos recognized were in short supply when she lived in Brooklyn and was seeking a workspace for her own art. Halmos's studio work includes sculptures, photographs, and objects. While she doesn't have any of her on art on display at Foreland at the moment, she is in the process of creating a new body of work, with some forthcoming exhibitions in the pipeline. Halmos's own Foreland studio is a 1,500-square-foot space, which is partly used for her studio work and partly used for the Foreland staff headquarters.

"The prices were so extravagant for crappy [Brooklyn] studios. People were paying prime money for [a] subpar product," Halmos said of the studios. "I thought, 'I can do it better. I'm an artist and I want to build a studio that I want to use.'"

As she and her wife started spending more time upstate, her dream studio site appeared. "Just by a total fluke, I was having an ice cream across the creek from [what is now] Foreland and I was staring at that beautiful building," Halmosrecalled. "I fell in love with it immediately and said, 'That's my building. That's it.'"

"Just by a total fluke, I was having an ice cream across the creek from [what is now] Foreland and I was staring at that beautiful building, Halmos, pictured here, recalled. "I fell in love with it immediately and said, 'That's my building. That's it."

Halmos says the Foreland studios are affordable pricing is available upon request, following an application process that shows proof of work but this isn't a non-profit organization. The artists' rent helps sustain the project. "My rule of thumb is that you're going to pay 30 percent less for 100 percent better of a product. You get it all with these studios everybody has a lot of light, big, beautiful, tall windows," Halmos said.

Caitlin MacBride,a painter who recently relocated to Hudson and rented a studio at Foreland, agrees the new space is an upgrade.

"I spent 15 years living in Brooklyn and this studio would have been way out of my price zone there. Its large and has wide floorboards and exposed beams. I love the historical details of it being an old mill because so many of my paintings are about history and design so this environment really inspires me, she said. "Also as someone who is still relatively new to the area its been such a gift I feel like the studio has already provided me with new friends and an amazing community of makers."

Ninety percent of the studios have been rented to date by an array of artists and makers, including painter Shara Hughes, multidisciplinary artist Lyle Ashton Harris, filmmaker Peggy Ahwesh, and sculptor Marc Swanson.

Since Halmos first laid eyes on the trio of buildings in 2017, she also started a family. Now the mother of an 18-month-old child, she joked, "Restoring these old buildings took longer and was more draining that growing and giving birth to an human."

Two of the 1800s-era buildings are connected by a floating glass pedestrian bridge.

Though Halmos is somewhat new to Catskill and new real estate development, her work on Foreland shows reverence for the buildings' past. Halmos began the project with a focus on preservation, spending a year and a half on structural remediation that is, dealing with all the engineering elements to stabilize the buildings and improve their health, safety and longevity. Her respect for the buildings' history shines through her artistic vision.

"We don't patina new things to look old and we didn't let the old things look new. We let them live together to show that there are a lot of people who have done work on this building before me and there will be many here after me," Halmos explained. "If we had to replace a beam or a floor system, we would use new wood wide planks, tongue and groove and let it show that it's new against some of the old things. You might see one column that is this big chunky piece of fresh timber, but the old one next to it has that patina of age."

Clearly, Halmos is looking to build on the good bones that already exist in Foreland and in the Village of Catskill, too. She mentioned the kindness and support of the town boards, the Department of Public Works, and the local police throughout her project.

"It's really bad for a town when giant footprints sit empty, she said. Statistically, it keeps growth stagnant. And so, just from the most basic standpoint, having these buildings full and increasing the amount of bodies that are coming in and out will be really positive. All these people want places to eat, they want places to go they want to enjoy life in such a beautiful little town."

Others are also looking forward to the role Foreland will play in the community. "Foreland is in the heart of our village, said McCulloch. We cant wait to see what their future holds."

Hudson Valley Art, Music and Culture

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Abandoned mills become massive new art space in Catskill - Times Union

Three months after touching down on the Martian surface, Chinas Zhurong rover has completed its primary mission and is still going strong.

The ambitious robotic exploration vehicle launched on a Long March-5 rocket from Wenchang, China back in July 2020, along with an accompanying Mars orbiter. After a 6.5 month journey, the spacecraft arrived at Mars in February.

Unlike recent NASA missions to Mars, which perform their Entry, Descent, and Landing procedures immediately, Zhurong stayed in orbit for several months before landing. The wait allowed the team to gather data about the health of the vehicle, move it into the most advantageous orbit, and decide on a landing zone.

The decision to take their time with the landing makes sense: Mars is a notoriously difficult place to land safely. About half of all historical Mars landing attempts have ended in failure, and until Zhurong, only the United States had ever succeeded (it might be argued that the Soviet Unions Mars 3 and the United Kingdoms Beagle 2 landers both soft-landed successfully, but both vehicles also broke down seconds after landing).

In any case, Zhurongs cautious approach paid off, and it successfully touched down on May 14th, 2021. Its landing site is in the region known as Utopia Planitia, a wide rocky plain, parts of which were previously explored by the Viking 2 Lander in 1976. Utopia Planitia is a desirable landing site because its flat, open terrain makes for an easier touchdown, but also because it is believed to be an ancient lakebed, giving the region scientific value to researchers hoping to learn about water, or even life, on ancient Mars.

Since landing, Zhurong has traveled 886 meters, stopping to take scientific measurements, and some selfies, along the way. The rover carries a ground-penetrating radar system which, along with a similar system onboard NASAs new Perseverance rover, is the first of its kind on Mars. Several other instruments will enable it to carry out geological investigations.

As Zhurong is Chinas first Martian rover, part of the primary mission involved testing the vehicles design and engineering: learning how to land on Mars and navigate a robotic rover there is a feat in itself. As part of this technology demonstration campaign, one of the rovers first targets was its own discarded parachute and backshell, which were intentionally detached as part of the landing procedure. The rover drove up to the backshell and inspected it, taking photos to send back to the team.

This week, the China National Space Administration announced that both the scientific and engineering goals of Zhurongs 90-day primary mission had been achieved. So far, Zhurong seems to have been a resounding success. The rover appears healthy and will continue to explore the surrounding region in the months to come. It has returned 10 gigabytes of scientific data so far. Hopefully, this and future data collected by the rover can help broaden our understanding of the red planet.

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Chinas Rover Completes its Primary 90-day Mission, but it Still has More Science to do - Universe Today

Picture a surfer. You probably imagine someone blonde and blue eyeda classic Southern California type, The Beach Boys playing in the background. Maybe you think of Elvis and one of his many surfmovies. Heck, youre more apt to see Scooby Doo on a board than a person of color.

Like many sports in the US, surfing has been actively non-inclusivea stark reality that Selema Masekela came to understand as a teenager surfing in Southern California in the 1980s.

There were no other [Black] kids doing it, Masekela says. And the kids in my school were very much informative in making sure I knew that. Everything from You people dont swim, how are you gonna learn to surf, to outright usage of the n-word and harassment about my color and being in the water, everywhere I went.

Ironically, Masekelanow a TV host, musician, and surf enthusiastfaced similar tensions when he visited South Africa, the home of his ancestors and some of the worlds most sought-after waves. It was the early 90s and he was accompanying his father, the musician and apartheid activist Hugh Masekela. Though apartheid had just ended, it was still very much the law of the land... and the water. Beaches were segregated, and the high price of entry for surfing meant that many indigenous South Africans couldntand still cantafford to try it.

I walked out of an elevator in a hotel in Durban with a surfboard in my hand and the whole lobby stopped, like a movie, recalls Masekela. When I walked out on the street to go to the beach, cars hit the brakes and you could hear the screeching of tires. People were looking like, what is happening? This is the new South Africa that theyre talking about on the radiois this what it is?

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When I ask Masekela why he chose surfing as the lens for his new book about Africa, the question pretty much contained the answer.

When [travelers] think about Africa its like we went, we landed, they drove us into a safari, he says. Or I volunteered and worked in this village or we went and taught people about Jesus and we saved them. Thats how weespecially in the Westlook at the richest, most vibrant, culturally diverse continent on the planet.

What people dont typically associate with the Africadespite 18,950 miles of coastlineis its waves. Masekela wants to change that with his new book AFROSURF. Itdelves into the history of surf culture in Africa, challenging stereotypes and popular ideas of provenance. Compiled with Mami Wata, a surf company based in Cape Town that Masekela co-founded, the collection features some 200 photos and over 50 essays, plus illustrations, profiles, even poems and recipes that span Africas shores from Morocco to Ghana to Somalia, and even landlocked countries like Congo.

There are thrilling tales of navigating shark-infested waters in Madagascar, and the surfable (and less terrifying) Skeleton Coast in Angola. Read about the tiny surfing utopia of Gabon, known to water-lovers for centuries, as yet undiscovered by much of the outside world. An essay by Kevin Dawson, history professor and author of the award-winning Undercurrents of Power: Aquatic Culture in the African Diaspora, traces the origins of surfing not to Hawaii, but to what is now Ghana, in 1640, with fishermen foregoing canoes for longboards and using them to paddle across lakes.

The book also emphasizes the reverence of water throughout the continent. Before [my father] left South Africa, my grandmother would always ask him to bring her back seawater from the beach, Masekela said. She believed in its spiritual power. His father told him this story when they were sitting on a beach in 2010, working on an ESPN documentary together. It was the first time that he ever really helped me to see that my love for the ocean water isnt foreignits actually native to us. To our family and to our culture.

Charities like South Africas Waves for Changewhich receives some of the proceeds from sales of AFROSURFlooks to the sea for therapy, helping kids heal trauma and gain exposure to the sport. Were creating a space where kids can be kids, says founder Chemica Blouw in the book. Because they dont always get to be kids in the communities they come from.

Decades later, the experience of surfing in South Africa has changed for the better for Masekela. But not enough. Its a start that South Africa now has its first Black championship surfer in Michael Mikey February, who is also profiled in AFROSURF. Were stoked on Mikey February, but we have a long way to go, he says. It needs to get to the point where its no longer notable, but the norm.

The sea change is most felt on the water. When you get an opportunity to surf with people who look like you, its very hard to explain what that feels like, the ease and the safety, Masekela says. Its so much fun to paddle out in Durban and be surrounded by tons of kids that look like me, and are rabid surfers. Its incredible to go up and down the coast and have it not be strange.

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FILE - This Oct. 16, 2017, file photo shows the black al-Qaida flag is sprayed on the wall of a damaged school that was turned into a religious court, in Taiz, Yemen.

By David Brooks | The New York Times

| Aug. 28, 2021, 7:00 p.m.

Certain years leap out as turning points in world history: 1517, 1776 and 1917. These are years when powerful ideas strode onto the world stage: the Reformation, democratic capitalism and revolutionary Communism.

The period around 1979 was another such dawn. Political Islam burst onto global consciousness with the Iranian revolution, the rise of the mujahedeen after the Soviet invasion of Afghanistan, the Islamization program in Pakistan and the popularity of the Muslim Brotherhood across the Arab world.

The ideas that seized the imagination of millions had deep and diverse intellectual roots. For example, mid-20th century thinker Sayyid Qutb mounted a comprehensive critique of the soulless materialism of America, tracing it in part to the separation of church and state the fatal error, he believed, that divided the spirit from the flesh. In the Muslim world, he argued, body and soul should not be split asunder, but should live united in a resurrected caliphate, governed by Shariah law.

This vision could manifest in more temperate ways, as clerics seeking to exercise political power, or in more violent ways, as jihadis trying to overthrow Arab regimes.

By 2006, in an essay called The Master Plan, Lawrence Wright could report in The New Yorker how al-Qaida had operationalized these dreams into a set of sweeping, violent strategies. The plans were epic in scope: expel the U.S. from Iraq, establish a caliphate, overthrow Arab regimes, initiate a clash with Israel, undermine Western economies, create total confrontation between believers and nonbelievers, and achieve definitive victory by 2020, transforming world history.

These were the sorts of bold dreams that drove Islamist terrorism in the first part of the 21st century.

To the terrorists behind Thursdays bombing outside the Kabul airport, the murder of more than a dozen Americans and scores of Afghans may seem like a step toward that utopia. The humbling U.S. withdrawal from Afghanistan may to them seem like a catastrophic defeat for Western democracy and a great leap toward the dream of a unified Muslim community.

But something has changed over the past several years. The magnetic ideas at the heart of so many of these movements have lost their luster.

If extremists thought they could mobilize Muslim opinion through acts of clarifying violence, they have failed. Across 11 lands in which Pew surveyed Muslims in 2013, a median of only 13% had a favorable opinion of al-Qaida.

In his 2011 book, The Missing Martyrs, Charles Kurzman showed that fewer than 1 in every 100,000 Muslims had become an Islamist terrorist in the years since 9/11. The vast majority rejected the enterprise.

When political Islamists tried to establish theocratically influenced rule in actual nations, their movements reputation was badly hurt. In one of extremisms most violent, radical manifestations, the Islamic States caliphate in Iraq and Syria became a blood-drenched nightmare.

But even in more moderate places, political Islam is losing favor. In 2019, The Economist surveyed the data and concluded, Across the Arab world people are turning against religious political parties and the clerics who helped bring them to power. Many appear to be giving up on Islam, too. Ayatollah Mohammad Taqi Mesbah Yazdi of Iran noticed the trend in his own country: Iranians are evading religious teachings and turning to secularism.

Globally, terrorism is down. Deaths from attacks fell by 59% between 2014 and 2019. Al-Qaidas core members havent successfully attacked the U.S. homeland since 9/11. In 2017, the Saudi crown prince, Mohammed bin Salman, began a process of marginalizing radical Wahhabism.

Experts see Islamic extremisms fortunes slipping away. The past two decades, Nelly Lahoud writes in the current issue of Foreign Affairs, have made clear just how little jihadi groups can hope to accomplish. They stand a far better chance of achieving eternal life in paradise than of bringing the United States to its knees.

In The Washington Post, Fareed Zakaria notes that most Islamist terrorism today tends to be local the Taliban in Afghanistan, Boko Haram in Nigeria, al-Shabab in the Horn of Africa. Thats a major reversal from the glory days of al-Qaida, when its leaders insisted that the focus must be not on the near enemy (the local regimes) but rather the far enemy (the United States and the West more broadly).

In this humiliating month, as the Taliban takes power in Afghanistan and ISIS still spreads mayhem, its obvious that even local conflicts can create incredible danger. But the idea of global glory a fundamental shaking of the world order that burst on the world stage roughly 40 years ago has been brought low.

The problem has not been eliminated by any means, but it has shrunk.

We blundered when we sought to defeat a powerful idea through some decisive military victory. But much is achieved when we keep up the pressure, guard the homeland, promote liberal ideas and allow theocracy to shrivel under the weight of its own flaws.

The men and women, in and out of uniform, who have done this work over the past 40 years, and are still giving their lives to it, deserve our gratitude and admiration.

(Nam Y. Huh | AP photo)New York Times columnist David Brooks at the University of Chicago, Jan. 19, 2012.

David Brooks is a columnist for The New York Times.

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David Brooks: Islamic theocracy shrivels under its own flaws - Salt Lake Tribune

The bhakti radical Ravidas (c 1450-1520), calling himself a tanner now set free, was the first to envision an Indian utopia in his song Begumpura a modern casteless, classless, tax-free city without sorrow. This was in contrast to the dystopia of the brahmanic Kaliyuga.

Rejecting Orientalist, nationalist and hindutva impulses to reinvent India, Gail Omvedt threads together the worldviews of subaltern visionaries spanning five centuries Chokhamela, Janabai, Kabir, Ravidas, Tukaram, the Kartabhajas, Phule, Iyothee Thass, Pandita Ramabai, Periyar, and Ambedkar. These are contrasted with Gandhis village utopia of Ram Rajya, Nehrus hindutva-laced brahmanic socialism and Savarkars territorialist Hindu Rashtra. Reason and ecstasy dnyan and bhakti pave the road that leads to the promised land.

The following is an excerpt from the concluding chapter of Seeking Begumpura: The Social Vision of Anticaste Intellectuals.

From Namdev, Kabir, Ravidas and Tukaram through Phule, Ramabai and Ambedkar, dalit-bahujan and many women intellectuals have evoked an ideal of a casteless, classless society, and have increasingly outlined its characteristics as a prosperous, democratic, socialist, development-oriented society. This study has traced the varying expressions of the ideal and the concrete forms in which it was envisaged.

In the form of utopian values they upheld, the anticaste intellectuals differed significantly from those who are taken today as nationalist leaders. As G Aloysius (1997) has pointed out in describing a nationalism without a nation in India, Congress as well as Hindu Mahasabha leaders had aimed for cultural nationalism that is a transfer of power without a change in the basic culture (as they saw it) of the Indian people. In doing so, they explicitly or implicitly endorsed its brahmanic elements, and in doing so laid the foundations for a more virulent Hindutva.

Nehrus ideal was a vague socialism, but he associated it with a managed economy, an updated version of what he saw as the traditional brahmanic ideal of service, taking the values of collectivity in family, caste and village as positive and somehow socialistic. This connected him ideologically with Gandhi, though in many respects his marxist emphasis on economic development puts him in the same camp as Ambedkar.

In contrast to the tendency of the elites to seek an independence ideal in the recreation of past values located in an imagined vedic golden age, with many of them idealising varnsashrama dharma, and without much change in the hegemonic structures of society the subaltern intellectuals sought what Aloysius calls a political nationalism, that emphasised equality with solidarity. Theirs was a vision that sought the reconstruction of Indian society, the creation of a new society that would flourish under independence.

Its prosperity is also stressed. This was to remain a themethe ideal, whether Begumpura or an imagined Pandhari, was a city of dancing, of merchants, of prosperity. Its anticaste vision may be contrasted with Gandhis Ram Rajya which indeed focused on village India, with Ram as a supposedly ideal king. Ravidas, even in the fifteenth century, was more secular and certainly more socialistic than Gandhi.

With independence, the creativity of dalit-bahujan intellectuals seemingly died away. Ambedkar died in 1956; he left behind a political party, a policy of a broad Left alliance, a new religion, and a heritage of pride. But the Republican party, though conceived of as a party for all the oppressed (and named after the US Republican Party, seen as the party of Lincoln and the ending of slavery), turned out to be only for dalits and more or less limited to being a powerful pressure group in Maharashtra.

A later, greater effort by Kanshi Ram to recreate the alliance of dalits and OBCs with the Bahujan Samaj Party (BSP) has had limited success: for a time it seemed to arouse a thunder all over India. For some time it remained confined to Uttar Pradesh and the northern, chamar belt of the state though Mayawatis resounding victory in the 2007 assembly elections brought new hope and new questioning, especially regarding the alliance with brahmans.

When the Dalit Panther was formed in 1972 by some of the leading writers of Maharashtra, it emerged as a militant organisation but quickly became split over marxism versus ambedkarism, and died within a year. Much of the dalit movement in the following years appeared to be under the hegemony of the Left, and this sapped its creativity.

After 1990, with the new globalisation, and propelled by the internet, a new dalit intelligentsia seized the opportunity to take their cause to the world arena, and in 2001 put caste on the agenda as a form of racism at the United Nations World Conference Against Racism in Durban, South Africa. This new form of mobilisation has found it difficult to connect in an organic way with the dalit masses; it was too often based on NGO activity rather than strong mass movements. Yet the many initiatives heralded the beginning of a new era.

Looking a bit like the Statue of Liberty with a floppy hippy hat, the goddess was standing on a computer, with book and pen in hand, springing from the map of India as if to move on to the world. Claims Prasad, who hosted the party, English the Dalit Goddess is a world power today; it is about emancipation; it is a mass movement against the caste order. Over a century ago, Savitribai Phule, wife of social revolutionary Jotirao Phule, had written the same thing, saying in a poem that sudras and ati-sudras (dalits) now have the right to education; and through English, casteism can be destroyed and brahmanical teaching can be hurled away. But it remains to be seen how much the subaltern castes will be able to use the weapons of global connections, computer, and English skills.

In fact, the ups and downs of the emergence of anticaste intellectuals were probably not accidental. The two main eras of creativity were the fifteenth to seventeenth centuries when the great poet-saints and wandering minstrels known as leaders of the bhakti movement sang their songs to arouse the people against priestly dominance and caste exclusiveness and the colonial period. Both represented forms of globalisation.

In the first case, Muslim rule brought a wide commercialism and an era of order to the subcontinent, broke through the stagnation of brahmanic regionalised states, and brought a connection with global trends, both in terms of mysticism and broader stirrings of assertion. In the second case, it was British colonial rule that linked India to a wider heritage. These linkages, and the resources they offered, benefited the anticaste intellectuals who emerged to try to give a telling blow to ritualism and hierarchy.

Similarly, other bhakti poets rejected many of the brahmanic symbols choosing Pandhari over Vaikuntha, often rejecting the avatar theory or turning it upside down, to hail the goodness of Bali, Sibi and the like. Even where names such as Rama were used by poets like Kabir, he made it clear that this was not the avatar Ramchandra and at times combined Allah-Ram: Every man and woman born are forms of you, so says Kabir: Im Ram and Allahs foolish baby, hes my guru and my pir (shabd 97).

Similarly, during the colonial period the initial response of the subaltern Kartabhajas was to hail the prosperity of the kompani, a king bringing wealth and prosperity from oversees. Intellectuals like Phule drew upon missionary research and propagandising to help them provide a full-fledged theory of brahmanism, created by Aryans and maintained through keeping the masses in ignorance. And he turned the avatar theory on its head, again, to hail the rakshasas (connoting demons in Sanskrit) as defenders of the people and Bali Raja as the good king, both powerful and sacrificial.

These early eras of globalisation in many ways benefited the anticaste movement.Yet just as theorists today stress that globalisation has both dangers and opportunities, so it did earlier. The ruling classes and ethnic groups during these early periods also were not interested in promoting mass welfare; outsiders themselves, they often made alliances with brahmans and worked to maintain caste. Muslims themselves absorbed much of caste hierarchy, defining their elite as ashraf descendents of Turks and Persians, Sayyids and Shahs and treating the subaltern caste converts as inferior.

In both cases, in spite of challenges from below, a brahmanic recuperation occurred: the bhakti movement was absorbed, and the anticaste intellectuals of the colonial period were deflected as the call for national independence took on a powerful aura. And with independence, most of the issues raised by subaltern groups were buried.

The way affirmative action was handled was typical: through the policy of reservation that absorbed all the rigidities of the public sector bureaucracy, renouncing any trust in broader policy decisions, and institutionalising an ideological split between merit and reservation candidates. The global forces have been used, in the end, more effectively by the elites, and rather than revolutionary moves towards abolition of caste, an updating and restructuring of caste inequality has occurred.

Excerpted with permission from Seeking Begumpura: The Social Vision of Anticaste Intellectuals, Gail Omvedt, Navayana.

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Neither Ram Rajya nor golden Vedic age: Gail Omvedt (1941-2021) on the history of a casteless future - Scroll.in

Its weird, right? says David Farrier, who knows all about the unusual. I dont quite know how it happened, and I find the whole thing bizarre too its outrageous.

A year ago, Farrier the former TV3 journalist who found fame with his film Tickled and the Netflix series Dark Tourist had never heard of a podcast called Armchair Expert.

Actually, he sheepishly admits, he hadnt heard of its host, a Hollywood actor named Dax Shepard.

But now Farrier is living in Los Angeles, has become great mates with Shepard (and his even better-known wife, Kristen Bell of Frozen, Bad Moms and The Good Place), and is cemented with Shepards following as their authority on conspiracy theorists.

READ MORE:* David Farrier's Tickled made into a musical - that he knew nothing about* Dark Tourist David Farrier: 'At least I'm not dead'* Here's what David Farrier has been working on for Netflix. Warning: It's grim

Hes carved quite the niche with two distinct audiences: the 20 million, mainly American audience of passionate Arm Cherries that tune into Shepard, and the smaller, but equally enthusiastic Kiwi crowd following his online newsletter Webworm, where he has unmasked anti-vax doctors and charted the red-pilling of Billy Te Kahika Jr.

Farrier grew up admiring Louis Theroux, was obsessed with making documentaries, and his goal was to deliver one for the big screen, which he did in 2016 with Tickled - the sordid tale of the darkness behind televised competitive tickling.

But the world has changed, and Farrier is quite comfortable in what once would have been considered two obscure mediums: a podcast, and a newsletter. While the world is chaotic, he says, it feels like a nice place to be.

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David Farrier recording the Armchaired and Dangerous podcast at Dax Shepards home in LA.

The attraction was immediate. After 29 minutes into Farriers appearance on Armchair Expert last September, Shepard declared: Im so sad you live in New Zealand: I want to hang out with David so bad. Im on the next plane to the f...... North Island.

Farrier was mainly meant to talk Tickled and Dark Tourist, which Shepard had just watched, but was quickly and enthusiastically diverted into explaining the origins of the QAnon movement and the bizarre Pizzagate and Wayfairgate conspiracies (google them) to an enthralled Shepard.

Soon afterwards, Farrier was, rather appropriately, walking past the Auckland headquarters of the Church of Scientology when his phone rang: it was Shepard, wanting to FaceTime for a yarn.

Then Shepard emailed with the invitation to do a weekly spin-off podcast, Armchaired and Dangerous, in which Farrier would explore conspiracists and other oddities (theyve since recorded episodes on cannibals, cryptozoology and serial killers).

Shepard, who acted in films like Employee of the Month, the CHiPS remake he also wrote and directed, and the Candid Camera-style TV show Punk'd, began the podcast on a whim.

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Dax Shepard records Armchair Expert from a converted space above his garage.

In the past three years, it has featured guests such as Jason Bateman, Amy Schumer, Gwyneth Paltrow, Norah Jones, Will Ferrell, Monica Lewinsky, Richard Dawkins and Judd Apatow, and Forbes magazine declared it the fourth-highest earning podcast in the United States, estimating its annual earnings at $US9 million (NZ$13 million).

It dawned on me how big his network is [and] how powerful and global a podcast can be, says Farrier. Youve got these big personality podcasts, where Joe Rogan is at one end of things, and Dax and [co-host] Monica [Padman] are at the other.

By May this year, Farrier had decided to travel up to Los Angeles, with the knowledge I may not be able to get back, to work on some unspecified projects he wont talk about, but principally, it seems the podcast, which is recorded in an improvised studio above Shepards garage in Los Angeles.

Shepard offered him a spare room (politely declined; he didnt want to be an imposition), while Padman offered the loan of her car (gratefully accepted). Hes just very friendly, and for whatever reason, I dont know why, he likes me! Its like this incredible little family that Ive lucked into its deeply unusual, but I am deeply into it.

Shepards producer Rob Holysz says they trust Farriers storytelling and research work and the intellectual clout he brings to our show.

Holysz says one reason why Armchaired and Dangerous is launching a series of live shows is that the audience love Farrier. So next month, Farrier, Shepard and Padman will record before a live theatre audience in, of all places, Salt Lake City, Utah. Given his interest in evangelical movements, Farrier is duly excited to get some education on Mormonism in the world home of the Church of the Latter-Day Saints.

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Farrier filming Tickled.

The last time he was in the mid-West state was to launch Tickled at the Sundance Film Festival. The five years since, he says, have been a blur, shuffling between New Zealand and the US, with a year touring the well-received Tickled, then a year making Dark Tourist, the Netflix-commissioned series about visiting places like Chernobyl. (Hes equivocal about a second series: I feel dark tourism is stepping out of the front door of the house these days.)

When the pandemic came, Farrier was finishing another dark tale of the unusual - a feature-length piece derived from a 2017 series of articles he did on the bizarre antics of Grey Lynn antique salesman Michael Organ, who would clamp anything illegally parked in his car park and charge release fees of up to $760 in cash.

Typical of Farrier, the final film, due early next year, has morphed into a whole other thing. Tickleds focus, the late David DAmato, was very much a non-participatory (and litigious) star. Is Organ, who once claimed he was a prince, a willing protagonist? A very good question, he laughs. And I hate to do this and be a real a..hole and answer that by not answering it ... but his presence is felt.

Chris McKeen/Stuff

Billy Te Kahika being arrested at an anti-lockdown protest in Aotea Square.

Farrier had always been fascinated by conspiracy theories, but his interest was reignited by last years worldwide wave of vandalism of 5G cellphone towers (driven by the belief that 5G spread coronavirus).

Such theories had been around well before someone decided Stanley Kubrick had faked the moon landing, but now, Farrier says, we are surrounded by ever-more-crazy variants, and the current crop are a life-or-death thing. For that reason, people are incredibly interested.

In turn, he finds it absurd, ridiculous, frustrating, angering, but always intriguing; a rabbit hole hes happy to keep digging down into. Anyone getting into storytelling, he says, needs to double down on that strange little thing you find interesting, because there is no better person to chase it.

He thinks he now understands their adherents - he likens them to the followers of a cult: something is missing in your life, and you find this belief system that fills everything in and gives you a really passionate purpose it helps the world make sense.

Red-pilling the process of becoming a believer happens quickly, he says, and its hard to unwind. If you try to argue with a friend on that path, you are dismissed as a shill. The only way is to ask questions how did they plant all those explosives in the World Trade Center when the building was fully functional? and hope a slow-growing seed of doubt has been planted.

Farrier is optimistic that as our lockdown lengthens, the conspiracists will be shown up. Look, he says, at Te Kahika, from when he was trying to be considered a serious political figure during the election campaign, to his arrest in Aucklands Aotea Square during anti-lockdown protests at the start of Level Four restrictions.

It is a fall, an embarrassing fall, and I think he will be embarrassed at how much he has fallen, he says. People with extreme views will yell and scream and like the attention, but increasingly, what I hope, is the rest of New Zealand will see it is all a bit embarrassing and pathetic.

As soon as I saw Te Kahika and another well-known conspiracy theorist, Vinny Eastwood, being arrested, I thought of Farrier.

Hes written extensively about both; he produced a study of Te Kahikas social media posts, to diagnose his red-pilling, and he also wrote a piece mainly composed of abusive emails he had received from Eastwoods followers.

In his line of work, he says, abuse is constant, and tonally very similar it feels like the same archetype has written each one.

Hes entirely unruffled by it: Anyone getting intense abuse, I tell them this: if you were on K Rd pre-lockdown at 2am, and some drunk a-.hole is screaming at me from the gutter, saying youre a piece of s..., you dont stop and engage, and say no sir, I need to give you my side of it, and make you understand Im not a piece of s.... You just walk on, because its just a guy whos had a terrible night, who is drunk.

The counter to that is the devotees of Webworm, which began during the first New Zealand lockdown when Farrier was bored and had a few unfinished stories he could polish up.

David White/Stuff

Farrier outside the Auckland HQ of the Church of Scientology.

The invitation came from Hamish McKenzie, the Kiwi founder of the $US650m (NZ$937m) start-up Substack, which recruits writers with followings, offering sign-up fees worth $3,000 to $100,000, to produce online subscription-based newsletters. Substack reportedly has somewhere around 500,000 subscribers and its top ten writers collectively bring in $US7m (NZ$10m) in revenue.

Farrier quickly found the format suited his trademark storytelling style, of starting with some oddity, then taking a weird, personal journey to end up somewhere else. Hes spending increasing amounts of time on it, its begun to pay its way, tips are flooding in, and among his subscribers is one D. Shepard. Hes cracked some significant tales, including exposing the conspiracy theorist beliefs of the founders of Kiwi lingerie firm Lonely. Last week, it was writing about how the giant Auckland evangelical church City Impact had preached an anti-vax sermon to its faithful.

Farrier runs a paywall model which functions in reverse to most media companies: he gives away his biggest, investigative stories, stuff I would say is public interest [journalism], but subscribers, paying $US6.99 a month, get the lighter, more personal stories, like a piece he wrote about would be included in a putative second season of Dark Tourist.

It has led, he says, to a little community who have a really nice time. Its weird how pleasant it is its a utopia of a comments section Ive not seen since maybe in 2000, when I first got on the internet.

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Shepard, left, and Farrier, right, have become close friends.

Farrier isnt sure when he will be home. He routinely refreshes the MIQ waiting list, but admits its more from journalistic curiosity, having written about the flaws in the system, than a desperation to come home. Its a moral question because if I get a spot in MIQ, because I would like to come back and see my family and my country, there are people who need to come back infinitely more than I do that then cant.

He can work from anywhere, and he likes being here when Trump isnt.

And hes been made welcome in California. Hes been recognised by his voice a few times. The Arm Cherries have even made some attempts to pair him off with Padman.

Dax and Monica have a really special chemistry and their fans love and adore them and if they OK someone, give you the thumbs up, then I am cleared, everything is OK, he concludes.

Its a very warm environment: their fans are not like what the f... is this New Zealand journalist doing on the show? Theyve warmed to me, and its a very nice environment to step into.

And behind it is this unusual, but deep friendship. They are weirdly friendly, he jokes. Maybe they are a cult?

After the offers of car and couch, theres one hurdle left to leap in the relationship: an opening to a network of celebrity friends. I keep hinting to Dax: where are the big parties? The part of town they live in, I can sense other famous people around I am angling for it, I am waiting for my invite to the big parties. I think Taikas got that sealed up.

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David Farrier's new life: An audience of 20 million, Hollywood mates and an obsession with conspiracy nuts - Stuff.co.nz

Editors note: This is the third in a series of stories highlighting the five J. Irwin and Xenia S. Miller Prize installations in the Exhibit Columbus exhibition opening with a ticketed gala dinner and preview party Aug. 20 and running through Nov. 28.

Mankind has long daydreamed about finding an idealized vision of a society.

During the upcoming Exhibit Columbus exhibition, local residents and visitors will be able to see art and design pieces collectively called "Alternative Instruments." Artist and designer Sam Jacob says the installation symbolizes many different layers of utopian visions developed over the past five centuries.

Jacobs multi-featured exhibition is one of five to be awarded a J. Irwin and Xenia S. Miller Prize for this years event, which runs from Aug. 20 through Nov. 28. Individual elements include textile banners, backlit signs, neon and even weathervanes along Washington Street, between First and Seventh streets in downtown Columbus.

In the exhibition, the oldest layer of utopian vision goes back to the 15th century during the "European Age of Discovery," when trade routes were expanded to find new sources of wealth and bring Christianity to new lands.

The first concept of a perfect society is usually credited to the novel "Utopia," written by Sir Thomas More and published in 1516. The story describes the imaginary island country of Utopia in the New World. Its a place with no lawyers, good behavior based on openness, communal ownership of property, the education of both sexes and almost complete religious toleration.

Symbols used by Jacob include the measuring chains used by the British to claim territory, followed by references to the nearly one hundred utopian colonies established in the U.S. between the American Revolution and the Civil War. All of these groups, which consisted largely of Europeans, were all attempting to build a radically new type of society, which Jacob says reveals an intellectual impulse that has always flowed through the American experiment.

One effort to build a utopian community specifically cited by Jacob is the small town of New Harmony, Indiana, located on the banks of the Wabash River in Posey County. Founded in 1814 by separatists from the German Lutheran Church, the residents of New Harmony built 180 buildings during the 10 years they resided there. Many are still standing today.

During the Victorian era (1837-1901) in Great Britain, ugly and dilapidated industrial cities that lacked cleanliness, safe housing and sanitation led many in the British Isles to develop their visions of a better world. It was during this period when a utopian society became linked with attributes such as town planning, education and housing, Jacob said.

Several of these 19th Century English concepts seemed to have their origin in Francis Bacons 1627 book "New Atlantis." In Bacons vision, a utopian society would be ruled by scientists who will eventually be capable of producing made-to-order weather conditions, provide hydraulic miracle machines, and devise remarkable advances in chemistry and medicine.

One of the most well-known British writers from this era was H.G. Wells, who wrote three different fictional books on utopian societies: "Anticipations" (1901), "Mankind in the Making" (1903), and "A Modern Utopia" (1905).

"Alternative Instruments is intended to show that each vision of a utopian society that has developed over the past five centuries had some link or impact on another, the artist said.

"Theres a lot of layers in this project," Jacob says. "The pieces Im making have a lot of references, from Thomas More to 20th Century modernist architectural designs in Columbus and all things in-between."

Concepts and ideology of a utopian society will sometimes manifest permanently in reality. For example, theres the grid system of streets found in Columbus and most U.S. communities that many take for granted and assume are used throughout the world.

"As someone who comes from England, the grid system strikes me as a very, very different idea of how to organize the world," Jacob said. "But it is a New World concept of how to better organize a community to benefit humanity."

Although some of the artwork will be shipped from London to Columbus, Jacob said most of it is being created by an Indianapolis fabricator who is bringing the artists visions into reality.

When the design and art work is placed along Washington Street, the overall impact might look like roadside mid-20th Century Americana mixed with medieval symbolism.

Depictions will include a telescope, a hand holding a symbolic heart, a sea monster, a neon skull and even a backlit version of British sculptor Henry Moores "Large Arch" sculpture outside the Bartholomew County Library. You will also see depictions of sailing ships combined with design and architecture from Las Vegas, an online exhibit description states.

As a whole, all of these items represent the ideas, ideologies, dreams and conflicts about Utopia that have developed nationally, internationally and locally, Jacob said.

"I wanted the viewer to feel that these different pieces are communicating with them, but they wont necessarily be easy to read," the artist said. "It might make you feel like you have woken up in a foreign country. In doing that, it will allow you to look at familiar settings in a slightly different way."

It might be easy to get confused by the quilts hung along Washington Street that contain triangles, squares and circles. But its not hieroglyphics. They are messages written with the Utopian alphabet published in early editions of "Utopia."

While most current editions of the book dont have it, there are online translations of the Utopian alphabet that will allow local residents to decode Jacobs messages. It has already been revealed that one message contains a reference about artist Robert Indiana.

When Columbus businessman and philanthropist J. Irwin Miller began to make his hometown what many describe as an architectural mecca, there was a popular mid-20th Century idea that well-designed buildings and artwork can ultimately create a better quality of life for its residents.

But while many people interpret the word "utopia" to mean "good place," scholars believe Thomas Mores definition was "no place." A good deal of Mores book is satire, with much of it modeled on exaggerated accounts of European voyages, Jacob said. The book eventually concludes there can never be a real utopia because whenever imperfect humans try to reach perfection, they fail.

Thats one reason why "Alternative Instruments" attempts to respond to Columbus as a site, a place, and a history but also as fiction, Jacob said.

About Sam Jacob

Sam Jacob is principal of Sam Jacob Studio for architecture and design, a practice whose work spans scales and disciplines from urban design through architecture, design, art and curatorial projects.

He has worked internationally on award winning projects and has exhibited at major museums such as the V&A, MAK, and the Art Institute of Chicago, as well as cultural events including the Venice Architecture Biennale.

He is professor of architecture at University of Illinois, Chicago, and columnist for Art Review. Previously he was a founding director of FAT Architecture.

From Exhibit Columbus

Where to learn more

To learn more about all the Exhibit Columbus installations, visit https://exhibitcolumbus.org/.

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VISIONS OF UTOPIA: Exhibit Columbus Miller prize winner examines 'Alternative Instruments' - The Republic

Roman Quaedvlieg standing tall in his smart black suit medals glistening, insignia flashing looked every bit the man-in-uniform from central casting when he posed between then Prime Minister Tony Abbott and Immigration Minister Peter Dutton on 1 July 2015 to launch a new paramilitary unit to protect Australias borders.

Australian Border Force was modelled on a similar agency created in Britain two years earlier but with a distinctive accent. Its Operation Sovereign Borders had changed the culture of military, policing and customs agencies in Australia as they were pushed out of their silos with a new shared priority: stop refugees arriving by boat.

Just 14 months earlier Scott Morrison, then the Immigration Minister, had announced the formation of the new armed and uniformed force, describing it as the reform dividend from stopping the boats.

The 70 year-old department had gained a new role: Border Protection. The old tags Multiculturalism, Citizenship and Ethnic Affairs were artefacts of other ages when population growth coupled with social cohesion had been the goal. The armed Border Force that had emerged out of the chrysalis of the old customs service, complete with new uniforms, ranks and insignia, on that mid-winter day was another sign of Canberras increasing preoccupation with security and militarisation.

Fear and safety were still at the heart of the political narrative just as they had been for most of the time since 2001, when Prime Minister John Howard won an unlikely election victory by declaring over and over: We will decide who comes to this country and the circumstances under which they come.

He liked to reassure people that Australia would still be taking more than its share of refugees, but the proportion of overseas-born residents fell over the early years of his prime ministership. After decades of multiculturalism the Australian ear was once again being attuned to new arrivals as threat.

Read more: Cruel, costly and ineffective: Australia's offshore processing asylum seeker policy turns 9

By 2015, Australias proportion of overseas-born residents was nudging the all-time high of 30% reached in the 1890s, but multiculturalism was still a grubby word.

Without irony, Commissioner Quaedvlieg cut to the chase, reducing the new nearly 6,000-strong agencys role to its essence: to protect our utopia. Decades before, the political philosopher Isaiah Berlin had elegantly demolished the idea of utopias, suggesting they were a fiction deliberately constructed as satires intended to shame those who control existing regimes.

A month after the launch of Border Force, its first big public exercise, Operation Fortitude, was announced. Officers were to walk the streets of Melbourne and seek proof of the right of residence of any individual we cross paths with. The warning was clear: If you commit border fraud you should know its only a matter of time before you are caught.

The residents of the Melbourne branch of our utopia fought back with a dose of theatricality, to prove Berlins point, and the joint operation with the Victorian Police was abandoned in a flurry of protests and press releases. Prime Minister Abbott declared, Nothing happened here except the issue of a poorly worded press release.

Within a couple of years, the uniformed commissioner from central casting had gone. The intent, however, remained clear. Immigration might be at an all-time high, but exclusion was still the key, and national security was at the centre of Australian public life.

Deciding who could come and the circumstances under which they could enter the country has, as we have been again reminded during COVID times, been central to the management of the Australian utopia since 1901.

Again Isaiah Berlin notes the:

[] idea of the perfect society is a very old dream, whether because of the ills of the present which lead men to conceive what their world would be like without them or perhaps they are social fantasies simple exercises in the poetical imagination.

Australia at the time of Federation was awash with bad poetry by mediocre poets. So if conceiving the nation as a utopia was an exercise of the poetical imagination, it was inevitably flawed.

The first step towards the creation of Australias white utopia was brutal and relentless. It depended on the humiliation and elimination, by design and neglect, of the million First Nations people who in 1788 still called the continent home as they had done for countless generations, managed with an elaborate, ancient patchwork of languages, social relations, trade and lore.

Although the Australian Constitution explicitly excluded them from the census, by the time the 3.7 million new arrivals became Australians in 1901, the First Nations population had been reduced, systematically and deliberately, to about 90,000 people.

The men who debated the legislation that would shape the new nation preferred to avert their eyes. They were not, however, ignorant of what had gone before.

Even in a world shaped by race there was argument, opposition and some shame. Months after Australia became legally, unequivocally white, the parliament debated whether to recognise the survivors who preceded them.

The senate leader and future High Court justice Richard OConnor argued that just as the right to vote was being extended to women because in some states, they already had the franchise the same principle should apply to Aboriginal people who had the right to vote in four of the former colonies. It would be a monstrous thing, an unheard-of piece of savagery, he declared, to treat the Aboriginals whose land we were occupying to deprive them absolutely of any right to vote in their own country.

Not everyone agreed. The former Tasmanian premier Edward Braddon summed up the majority sentiment:

We are told we have taken their country from them. But it seems a poor sort of justice to recompense those people for the loss of the country by giving them votes.

This argument prevailed. White women and Maori were the only exceptions: no aboriginal native of Australia, Asia, Africa or the Islands of the Pacific could enrol to vote. Within its first two years, the parliament had failed two moral tests.

At the heart of the Australia embraced by those who met in Melbourne in the Federation Parliament was the idea of a model society populated by men like them. Utopian dreams had played out in many ways in shaping the new nation. A decade earlier, nearly 300 colonialists sailed to Paraguay in a flawed attempt to create a more perfect, and even whiter, society called New Australia.

Prime Minister Edmund Barton, in the middle of the first year of the century, firmly grounded the new nation in the instinct of self-preservation quickened by experience. Optimism tempered by fear.

What became known as the White Australia policy was necessary, he said, because we know that coloured and white labour cannot exist side by side; we are well aware that China can swamp us with a single years surplus population.

Future prime minister Billy Hughes spelt out the two steps of this dance when he candidly observed that having killed everybody else to get it, the inauguration of Canberra which they considered calling Utopia as the national capital was unfolding without the slightest trace of the race we have banished from the face of the earth [] we should not be too proud lest we should too in time disappear. We must take steps to safeguard the foothold we now have.

In 1923 Myra Willard a recent graduate of the University of Sydney paid Melbourne University Press to publish its first monograph, her book History of the White Australia Policy to 1920. She wrote with a contemporaneous eye.

The debates in the colonies before Federation were still close enough for the lines between them and the 1901 legislation to be thickly etched with detail. She grimly recounted the way each colony penalised and excluded coolies and celestials.

The desire to guard themselves effectively against the dangers of Asiatic immigration was one of the most powerful influences which drew the Colonies together, she wrote. She quoted with approval the now infamous speech by Attorney-General Alfred Deakin in which he described the principle of white Australia as the universal motive power that had dissolved colonial opposition to Federation. At heart, he declared, was the desire that we should be one people and remain one people without the admixture of other races.

The Australian utopia depended on a united race. This would be ensured by prohibiting the intermarriage and association that could degrade. As Deakin declaimed in September that year, inspired by the same ideas and an aspiration towards the same ideals of a people possessing a cast of character, tone of thought unity of race is an absolute essential to the unity of Australia.

The legislation was finally, if somewhat reluctantly, signed by Governor General Lord Hopetoun just before Christmas 1901. London was discomfited by the determination of the new nation to exclude and proposed amendments to save face with her imperial allies in Europe and Japan. Willard wrote in 1923, Australias policy does not as yet seem to be generally understood or sanctioned by world opinion. It was, she maintained, despite the negative connotations, really a positive policy that ensured Australia would be a productive global contributor of resources and supplies.

By the time the legislation passed, those with Chinese heritage were fewer than they had been in the 19th century. It did not take long before Indian residents who had lived in Fremantle for years, as British subjects, were denied the right to return to Australia after visiting their homeland. Those of German heritage, who made up about 5% of the population at the turn of the century, soon became pariahs wartime internment was followed by the deportation of 6,000 Australians of German heritage.

Gough Whitlam revoked the policy as one of his first acts as prime minister.

Right up to our election in 1972, he recalled, there had to be, from any country outside Europe, an application for entry referred to Canberra and a confidential report on their appearance [] The photograph wasnt enough, because by a strong light or powdering you could reduce the colour of your exposed parts. It was said that the test was in extreme cases, Drop your daks because you cant change the colour of your bum.

For Michael Wesley, now deputy vice chancellor international at the University of Melbourne, and thousands of others, this meant that his Australian-born mother could return home with her Indian husband and brown babies without fear of deportation.

Read more: German experience in Australia during WW1 damaged road to multiculturalism

The echoes still resonate. Fast forward to this year, when the average time in immigration detention rose to 627 days and the then Minister for Home Affairs, Peter Dutton, described deporting New Zealand-born long-term Australian residents who had been jailed as taking the trash out.

The suite of bills passed in that first parliament at least as much as the Constitution determined the social nature of Australia for much of the 20th century. As Deakin said a couple of years after the White Australia policy was adopted, it goes down to the roots of our national existence, the roots from which the British social system has sprung.

By the time he was prime minister, the bureaucratic method of exclusion was even clearer: the object of the [language] test is not to allow persons to enter the Commonwealth, but to keep them out. John Howard could not have asked for a better crib sheet than the speeches of the Federation Parliament when preparing his 2001 election campaign.

Read more: Australian politics explainer: the White Australia policy

That Australia has emerged as a cohesive multicultural society, with people drawn from hundreds of different countries and increasingly from those that were once explicitly excluded is a remarkable achievement. That the First Nations people have survived is in many ways even more remarkable.

But the foundation story of our notional utopia is still undigested and recurs unwittingly in policy language and political rhetoric, in legal and administrative practice and personal abuse.

The brutal speed and wilful political rejection of the Uluru Statement from the Heart would have shamed even the members of the Federation Parliament; the failure to turn enquiry into action on the oldest issue in the land treaty, truth-telling and settlement with the descendants of those who have always been here is unconscionable.

Methods of border control are now more likely to be couched in the convoluted small print attached to visas, employment conditions and bureaucratic processes, but at some level the old order prevails there has been no national apology to those who were humiliated by the White Australia policy, no formal truth-telling to address these sins of the past at a national level. It has taken 23 years for the compensation recommended by Stolen Children inquiry to be parsimoniously granted.

Hands are thrown up in mock astonishment when another example of institutional or official racism, discrimination or maltreatment makes the headlines. Over a decade, the cost of detaining (and breaking) those refugees who felt compelled to leave their homeland reached double-digit billions. International criticism is once again worn with bravado as a badge of honour rather than a mark of shame. It was surprisingly easy to jettison 50 years of careful relationship-building with China.

Ever since those first debates in the Federation Parliament there has been a moral deficit in Australian politics, a reluctance to go back to first principles, to meaningfully make amends. Until this is addressed there will always be an action deficit. The big public health campaigns have not extended to addressing the lingering racism that has equally pernicious consequences.

No national political leaders rose to the defence of Adam Goodes when the 2014 Australian of the Year was called an ape and booed off the footy field. None came to the defence of Yassmin Abdel-Magied when she sought to contribute to public life. The response to the never-ending list of Aboriginal deaths in custody is couched in mealy-mouthed administrivia.

When Prime Minister Julia Gillard was battered by misogynist hectoring, the message to other women was clear: dont get ideas above your station. Almost every week a woman dies at the hands of her intimate partner, but overwhelmed police seem powerless to help.

Our treatment of refugees attracts a global condemnation that is dismissed as readily today as it was in 1901. Behrouz Boochani will probably never set foot in the country he described so searingly in his much awarded No Friend but the Mountains, and despite public support, the Murugappans the Biloela family spent nearly three years in costly detention on Christmas Island.

Yet when the government banned Australian citizens and permanent residents who happened to be in India as COVID raged from returning home under threat of fines and jail terms, the outcry was impossible to ignore.

The brutality of the old ways still lives in the memory. A colleague recalled her traumatic fear, during the familys first trip to India with their Pakistani-born father, that the White Australia policy would be reintroduced and they would be denied re-entry. It had happened to those returning to Fremantle Harbour a century earlier and, astonishingly, again in 2021.

Public sentiment is at odds with that of those who are most committed to the old status quo. Survey after survey shows a populace willing to embrace change that means people are treated better. But there are few leaders willing to make the case, fearful of an imagined backlash, rather than embracing the need for big tough conversation. Transformation is left to the slow accretion of a new normal.

Tens of thousands turned up at the football waving I stand with Adam banners years before the AFL officially apologised to Goodes.

Those affronted by official treatment of refugees engage in endless protest campaigns, travel to detention centres, provide support and lobby. The Black Lives Matter movement has galvanised some of the biggest demonstrations seen in the country, despite COVID, and the calls for action on the unfinished business of the 33-old Royal Commission into Aboriginal Deaths in Custody and the other inquiries are becoming impossible to ignore.

There is much to be learnt from First Nations people. Their survival and generosity is an inspiration that needs to be taken seriously and acted upon. Without righting this foundational wrong, this country will be forever stuck on a political treadmill, running but going nowhere.

It is striking that one of the most important Aboriginal artists to have captivated the world came from a place called Utopia. Hers was the land of the Alyawarr people for millennia before its brief life as a cattle station. It is a place as impoverished as any of the remote settlements in northern Australia, returned to their traditional owners with only grudging support from the state. But the semi-arid country is the source of dreaming and a culture that speaks to the world when brought to life on canvas. Emily Kame Kngwarreyes paintings are displayed in galleries, palaces and private collections around the world.

They are more than great works of art. It is what Australian art always aspired to be. In the words of the influential Aboriginal scholar and advocate Marcia Langton, Emilys paintings

[] fulfil the primary historical function of Australian art by showing the settler Australian audience, caught ambiguously between old and new lands, a new way to belong in this place rather than another []

Creating a utopia, or at least an aspiration to do better, requires more imagination and courage than our current system of professional politics permits.

It needs more art and better faith. Politics, like everything else, is now in thrall to corporate modes of organisation and communication.

The emphasis is on the mission (to get elected) and KPIs (to deliver on promises). The headline of every corporate plan is the vision. It is always the hardest thing to define. But without a vision, any plan is meaningless. Our utopia needs a new vision, one not tinged by shame. The old ones have failed the test of time.

This is an edited extract of Facing foundational wrongs careful what you wish for, republished with permission from GriffithReview73: Hey Utopia!, edited by Ashley Hay.

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Friday essay: Our utopia ... careful what you wish for - The Conversation AU