Blog — Page 142 of 279

The Simpsons: A Cultural History

Rowman and Littlefield

Using a flipchart to outline the immense influence The Simpsons have had and still have on the fabric of our cultural DNA would hardly to justice to the impact of the show that once derived from The Tracey Ullman Show.

What started as a countercultural and alternative experiment arrived in the middle of society decades ago and it is astonishing to see what a fictional primetime series can achieve on different levels of the collective mind that underpins popular culture.

The elaborately thought through characters of the show have not only become icons but also archetypes that are informed by so much more than an accumulation of stereotypical traits.

The Simpsons: A Cultural History does not only shed light on the show’s roots and its development but also dissects the characters with surgical precision from a variety of angles – be it subversion, pop cultural phenomena, comic strip traditionalism, comedic lineage and histories, transcending boundaries between worlds through carefully orchestrated cameos and the influences and sources of inspirations along the way.

The fact that the book caters to both hardcore aficionados as well as the uninitiated by not only relying on trivia and rehashing its glory by elaborating on its episodes, but also a borderline scientific and never not unentertaining approach, is testament to the ground-breaking nature of the show.

The Simpsons: A Cultural History offers an in-depth look at how the times influence and have been influenced by this powerhouse of a show and brilliantly captures the background and impact of the hilariously dysfunctional, quintessential American cartoon family that became a tremendous force in pop culture.

As someone who has read quite a few books on the show, I’d recommend this one as it goes in depth without lacking entertainment and also without paying attention to the criticism the show has been exposed to.

West Side Story

Opera House

August 20, 2019

Sydney, Australia

There are few dance musicals that are as internationally known as the result of the joint effort between the quartet of what has become well established as luminaries in the world of musical, i.e. of Leonard Bernstein, Arthur Laurents,  Jerome Robbins and  Stephen Sondheim.

If you think you are unfamiliar, think again – some of the songs of the score are inextricably linked to the pop cultural fabric of the 20th century.

Based on the classic Romeo and Juliet dynamic, the classic love story is transported into the concrete jungle of NYC where the Montagues and Capulets are replaced by the Jets and the Puerto Rican Sharks, rival gangs fighting over local turf.

True to its original choreography, the Australian incarnation under the directorial guidance of Joey McKneely epitomises the essence of what the nostalgic, energising melange of theatrical, dance and immensely enjoyable score set out to be.

The committed triple threat ensemble delivered on all fronts – spectacularly realised dancing incorporating jazz, Latin and ballet style elements nuanced with near pitch perfect vocal feats reminiscent of both opera and traditional styles that set the narrative elements in scene, nuanced by the emissions and ardent score of a wonderful orchestra that only enhanced the emotional pull the captivating traditional tale enacts.

A stripped back yet atmospheric set design focussing on the balconies of New York’s 1950 underclass quarters with large scenic elements moving seamlessly into place as required, put the spotlight solely on the highly energetic performances, enduring melodies and choreography.

I have seen Westside Story in NYC where it originally emerged as well as in Europe and the Australian production is in no way less dramatic, entertaining without embellishing it – au contraire the set design and unique ambience of the Sydney Opera House gives it an x-factor that adds intimacy to a finger snapping, high-kicking irresistible evening that celebrates diversity with its vivid characters and carries a simple yet powerful and universal message.

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Photo courtesy of Prudence Upton

Philosophy and Poetry : Continental Perspectives

Columbia University Press

Footprint Books

Sure, there is a myriad of treatises and books on schools when it comes to studying the fundamental knowledge of the nature of thought, aestheticism and how it ties in with different styles of literature.  

Philosophy and Poetry examines the way with which luminaries in the realm of the contemporary continental tradition question and engage with the challenge calibrating the chasm meandering through the cannon of literary work and the arts, with the pool of chosen references being comprised of an illustrious melange of reputable representatives of their respective realms.

The main merit of this tome lies in overcoming the age old often artificially upheld demarcation line between abstracts and poetic elaborations, shedding light on how contemporary thought leaders as well as those from the previous century have managed to not only redefine but shift the exchange between philosophy, literature and its osmosis.

The way the areas of dispute are tackled and how the shaping and changes of approaches has morphed through intense interactions by thinkers, showcases in an intriguing manner how each individual realm actively spawned new hybrids that enriched traditional modes of comprehension.

Needless to say that reading that exposing yourself to this book also serves as a compelling source of hope and inspiration for overcoming the discrepancies and animosities between seemingly conflicting worldviews.

Despite the expertise of author Ranjan Ghosh being firmly in the field of literature, I like how he takes at times opposing standpoints into consideration in equal measure while keeping his focus on the culturally transcending qualities of literature with both the identity and function of the poet as a conduit.

In vino veritas – Vin Diemen’s Taste of Tasmania

Another instalment as part of my constant push for you to have your mind blown by what Tasmania has to offer: The annual Vin Diemen’s Taste of Tasmania extravaganza is one of the events of the year for anyone remotely interested in quality wines.

Over one hundred wines from over twenty producers resulting in one true Tasmanian experience that is one bacchanal opportunity to experience the gourmet island, which is the oldest producing wine region in the country.

No matter if one has a weak spot for Pinot Noir, Chardonnay or artisanal produce and boutique beverages, the event which in 2019 saw its fifth incarnation has got you covered.

With a terroir that was formed from ancient sand- and mudstones and whose character is informed by river sediments and rocks of volcanic origin and its moderate maritime climate, which allow grapes to ripen slowly on the vine, the liquid emissions cover a wide range of varietal flavours infused with its trademark natural acidity.

This year’s highlights included the Ghost Rock Zoe Brut Rosé Our Brut Rose?, a Pinot Noir dominant crisp blend that eased us into the proceedings of the day.

I have had many glasses of Jansz sparkling wines, but trying their Late Disgorged Vintage Cuvée 2011, a fantastic companion to seafood with its sea spray informed aromas and nuances of fruity and honey-esque highlights, along with their Jansz Late Disgorged Vintage Cuvee 2007, which being an Islay whisky lover I appreciated for the hints of iodine and smoke I detected.

Needless to say that Moorilla Estate is yet to disappoint and it is always a pleasure to check in with them to sample their refined wines.

Food-wise, Vineyard Seafood Restaurant had me drooling with their crayfish, truffle and brie toasties, which I washed down with Bruny Islands’ Cloudy Bay IPA – comprised of six hop varieties, the tangy melange of which results in a sophisticated bitterness that is pervaded by tropical fruits, citrus and herbal aromas.

Not sure about your neck of the woods but on terra australis, wine tastings are omnipresent, however, one Vin Diemen is one of the consistently quality ones that has found an ideal location as the backdrop of the Cell Block Theatre within the National Art School provides a more than suitable ambience.

Anselm Kiefer in Conversation with Klaus Dermutz

Seagull Books

I travel the world for many reasons and one think I made sure of, is hunting down Anselm Kiefer’s artistic emissions in museums around the globe while doing so. The man and his ever-expanding body of work is a never ceasing source of inspiration for me.

Needless to say that every time the Anselm opens up and shares insights on his approach to the arts, I am all ears – especially when someone like the theologian Klaus Dermutz, who had been at the helm of the documentary Over your cities grass will grow, is the one steering the conversation.

If you are familiar with Kiefer’s oeuvre, you might be surprised how down to earth and accessible he is in conversation. He is able to convey how he convey the inspiration for his thoughts in pictures, which are further refined to poems that serve as foundation and grip when his artistic endeavours pull him magnetically into the infinite.

The book is comprised of ten conversations, which tackle the essence that underpins his art, the creative processes leading to it and his sense and interpretation of aestheticism that infuse it with his idiosyncratic “je ne sais quoi”.

For the uninitiated as well as the hardcore aficionado, the information that emerges out of the conversations helps not only to explain but also enhances the enjoyment of his art, e.g. when he sheds light on how the central materials of his art play an integral part in the creative process and if you are aware of what he uses apart from paint, e.g. lead, sand, water, fire, ashes, plants, clothing,  et cetera, it should not be a mystery what an immense part they play.

Dermutz also manages to elicit less obvious influences as far as schools of thought are concerned: From Jewish mysticism via German Romanticism, literary influences, Richard Wagner’s epic operas, philosophers, theatre directors and other Richter und Henker, as well as his own interaction with all of the individual constituents. The later becomes specifically interesting when it comes to the notions and themes of German (collective) guilt, suffering, communal memory, and the seductions of destruction, all of which have brought him critical appraisal as well as controversy.

This tome is an essential read that offers a rare access into a mind of a great artist – an artist that transcends confines, labels and defies classifications – and one anyone remotely interested in visual arts and the aftermath of the twentieth century would benefit from.