Boston City Hall Plaza Gets Some National Love

Much-maligned Boston City Hall Plaza has been getting some good press lately, especially in the Boston Globe, for efforts to spruce/lively it up.

And now Boston Mayor Marty Walsh’s relentless red-brick-revival is garnering national recognition, via the Wall Street Journal’s Jon Kamp.

Boston’s Maligned City Hall Plaza Gets a Makeover

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BOSTON—On a recent sweltering weekday, three young women did something unusual outside the imposing, concrete City Hall building here: They took a seat.

Allison Baldwin and two co-workers from a nearby advertising firm were relaxing in plastic Adirondack chairs next to a lush, fake lawn, all installed as part of Boston’s latest effort to rejuvenate one of the nation’s most maligned public spaces. Built during the midcentury heyday of bulldozer-oriented urban renewal, the City Hall Plaza is a largely empty, more than 200,000-square-foot expanse of red bricks wrapping partially around the city’s headquarters.

The nonprofit Project for Public Spaces includes the plaza in its “hall of shame,” calling it “one of the most disappointing places in America.”

Now maybe not so much.

Interestingly, the Journal piece fails to mention the paper’s own Ada Louise Huxtable, one of the earliest and staunchest supporters of Boston’s Brutalist Boondoggle.

Regardless, good news for a town that could really use it, yeah?

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Dead Blogging ‘Colossal’ at Company One Theatre

Well the Missus and I trundled down to Calderwood Pavilion in the South End last night to catch the Company One Theatre production of Colossal and man, it was moving – in virtually every sense of the word.

Andrew Hinderaker’s play is the story of a young man named Mike who foregoes a career as a dancer to become a college football player, and then becomes a paraplegic.

colassal-carouselThe lights burn bright. The smell of turf hangs thickly in the air. The crowd erupts in thunderous applause. The beauty and brutality of football seduce Mike to stray from the path his father had mapped out for him, but when a snap decision results in a career-ending injury, Mike must tackle the past and make peace with the man he dreamed he would be.

The production is all about the intersection of choreography and athleticism, dance and football. And the cast is uniformly terrific.

 

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Special mention to Marlon Shepard

 

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and Alex Molina

 

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for depicting the two Mikes in totally riveting performances.

The choreography of Tommy Neblett, the direction of Summer L. Williams (who also directed Intimate Apparel at the Lyric Stage Company of Boston earlier this year), the scenic and production design of Kathryn Lieber – are all spot-on in this crushingly effective production.

Don’t just take our word – here’s Joel Brown’s Boston Globe review.

And here are audience reviews.

 

 

The production runs through August 15. Do yourself a favor and catch it.

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A Jason Gay Ol’ Time (Boston 2024 Edition)

From our long-running Jason Gay Ol’ Time series

The five-ring monte game that Store 2024 ran in Boston this past year has, mercifully, come to an end.

And Boston native Jason Gay gave it a proper burial in his Wall Street Journal column yesterday.

Boston Says ‘Nope’ to 2024 Games

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Boston didn’t want the Summer Olympics. OK, that is not totally accurate: Some Bostonians were excited for the city to host the Summer Games in 2024, just not enough of them to, you know, give the idea popular momentum. Boston never became gripped with Olympic fever, not even close. It mostly acted like the Olympics were a two-week canoe trip with their in-laws that they would get stuck paying for.

As someone who grew up a few miles outside the city, I’m not totally surprised. Every time I read a story about the Boston Olympics, I kept imagining my late father pacing around the kitchen with a coffee mug, complaining about Olympic budgets and especially Olympic traffic, nine years in advance. People in Boston are really cuckoo about traffic. My dad made it his life’s mission to avoid Boston traffic; he liked to leave for the Logan Airport 13 years in advance of the flight; around the Fourth of July weekend he would wake up in the middle of the night screaming about gridlock on Cape Cod. I won’t even mention parking. Boston parking could actually have been an Olympic event.

Not that Gay wouldn’t have loved to cover the Boston 2024 Olympics: “I am an unabashed fan of the Games, and besides, my co-workers would have been crammed into a discount highway motel eating vending machine sandwiches while I was at my mom’s house sleeping in my childhood bed and eating blueberry pancakes. What wasn’t to like?”

What wasn’t to like, of course, was Boston residents being on the hook for millions of dollars to host a millionairepalooza.

So goodbye Wherever Velodrome, goodbye VIPissYouOff lanes, goodbye John (Go) Fish.

And – oh, yes – good riddance to you all.

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Dead Blogging Beethoven’s Ninth in Copley Square

Well the Missus and I trundled downtown yesterday to catch the Handel + Haydn UnknownSociety’s performance of Beethoven’s Symphony No. 9 at the Boston Globe/WGBH Summer Arts Weekend and, say, it . . . swelled.

Thanks to the incomparable Brian O’Donovan and No Other, we had excellent seats for the stirring performance that featured:

Ian Watson, conductor
Period Instrument Orchestra and Chorus
Harvard Summer Chorus
Vocal Arts Program Choruses
Joélle Harvey, soprano
Margaret Lias, mezzo-soprano
Stefan Reed, tenor
Andrew Garland, baritone

The concert ended with a fabulous “Ode to Joy” that had the crowd on its feet.  A memorable event indeed.

From there we moseyed over to the South End’s Calderwood Pavilion for a table reading of Mia Chung’s new play Catch As Catch Can, part of the Huntington Theatre Company’sUnknown-1 2015 Summer Workshops, “a two-week new work retreat culminating in public readings of the plays in development.” (Chung, a Huntington Playwriting Fellow, is also the author of You for Me for You, This Exquisite Corpse, Skin in the Game, an adaptation of The Orphan of Zhao, and We Spend Our Lives.)

Catch As Catch Can, we can report, is developing quite nicely. The play is funny, tricky, and engaging. And the actors who read it were outstanding in dual roles: Marianna Bassham, who played a father and daughter; Denny Dale Bess who played a mother and son; and Matthew Boston, who also played a mother and son. Director John Steber did a fine job of bringing the whole effort together.

Last but certainly not least, both of the events above were free. Our thanks to all involved.

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Civilians Who Run Full-Page Ads in the New York Times (Michael Steinhardt – Again! – Edition)

The latest in our long-running series

Yesterday’s New York Times featured yet another ad from Zionista Michael Steinhardt, whose previous Times ad (along with his various associations – see here and here) we dutifully noted last month.

His current foray:

 

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Drives him nuts graf:

 

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This time around, Steinhardt has teamed up with Rabbi Shmuley Boteach of The World Values Network.

We’re not sure what that means, but we’re sure it means something.

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The Arts Seen in NYC (The Divine Patti LuPone Edition)

Well the Missus and I trundled down to the Big Town last weekend to catch one thing and another and say, it was swell.

First, of course, there was crosstown traffic, which takes roughly 30 minutes to navigate.

Official Campaign Outsider Jimi Hendrix Interlude™:

 

 

After that, we stopped by the Fashion Institute of Technology for its Global Fashion Capitals exhibit that “explores the history of the established fashion capitals—Paris, New York, Milan, and London—and the emergence of 16 new fashion cities.”

The Missus and I agreed that Best of Show was this Christopher Kane dress:

 

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From there we moseyed down to the new Whitney Museum to take in America Is Hard to See and found it . . . hard to find (we missed our left turn). But eventually we stumbled upon the New Palace of American Art with its razzle-dazzle exterior.

 

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Inside, we found a bright, airy environment, quite different from the old Marcel Breuer Whitney on Madison Ave. We also found the showcase exhibit.

Drawn entirely from the Whitney Museum of American Art’s collection, America Is Hard to See takes the inauguration of the Museum’s new building as an opportunity to reexamine the history of art in the United States from the beginning of the aihts-2_2340twentieth century to the present. Comprising more than six hundred works, the exhibition elaborates the themes, ideas, beliefs, and passions that have galvanized American artists in their struggle to work within and against established conventions, often directly engaging their political and social contexts. Numerous pieces that have rarely, if ever, been shown appear alongside beloved icons in a conscious effort to unsettle assumptions about the American art canon.

That’s true. Who woulda thunk this piece was created by Arthur Dove?

 

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Beyond the contents of the exhibit, though, the new Whitney has become a sort of Fine Arts Rorschach Test.

Here’s an art critic – Jerry Saltz of New York magazine – who loves the new Whitney.

And here’s a critic – James Gardner in The Weekly Standard – who really doesn’t.

Our verdict?

Meh.

The new digs are fine – a nice enough place to view the Whitney’s absolutely stunning collection. The views from the outdoor decks are . . . panoramic. And the sculptures on the decks are . . . pleasant.

But all the bells and whistles? And the overpriced cafes? We don’t care much.

(Fun fact to know and tell: The Missus says Thursday evening is the best – that is to say least crowded – time to visit the Whitney. You can see America Is Hard to See through September 27.)

* * * * * * *

Today is Celebrity Artist Day!

Start at the Museum of Modern Art with Yoko Ono: One Woman Show, 1960-1971, an exhibit MoMA describes this way:

The Museum of Modern Art presents its first exhibition dedicated exclusively to the work of Yoko Ono, taking as its point of departure the artist’s unofficial MoMA debut in late 1971. At that time, Ono advertised her “one woman show,” titled Museum of Modern [F]art. However, when visitors arrived at the Museum there was little evidence of her work. According to a 116891sign outside the entrance, Ono had released flies on the Museum grounds, and the public was invited to track them as they dispersed across the city. Now, over 40 years later, Yoko Ono: One Woman Show, 1960–1971 surveys the decisive decade that led up to Ono’s unauthorized exhibition at MoMA, bringing together approximately 125 of her early objects, works on paper, installations, performances, audio recordings, and films, alongside rarely seen archival materials. A number of works invite interaction, including Painting to Be Stepped On (1960/1961) and Ono’s groundbreaking performance, Bag Piece (1964). The exhibition draws upon the 2008 acquisition of the Gilbert and Lila Silverman Fluxus Collection Gift, which added approximately 100 of Ono’s artworks and related ephemera to the Museum’s holdings.

The still above is from Ono’s 1965 Cut Piece, filmed by Albert Maysles + David Maysles at Carnegie Hall.

 

 

(To be honest graf goes here)

To be honest, I’m not really smart enough to get all of what Yoko Ono was doing back then, but I get that she was breaking through something or other. As for the exhibit (through September 7), some of it is fun to look at and some of it less so. But worth seeing.

We thence hied ourselves to another celebrity MoMA exhibit, Andy Warhol: Campbell’s Soup Cans and Other Works, 1953–1967.

Andy Warhol’s Campbell’s Soup Cans is the signature work in the artist’s career and a landmark in MoMA’s collection. The 1962 series of 32 paintings is the centerpiece in this focused collection exhibition of Warhol’s work during the crucial years between 1953 and 1967. The Soup Cans mark a breakthrough for 121691Warhol, when he began to apply his seminal strategies of serial repetition and reproduction to key subjects derived from American commodity culture. Warhol also developed his signature use of the flat, uniform aesthetic of photo-screenprinting just after he completed the Soup Cans. For the first time at MoMA, the 32 Soup Cans are shown in a line (rather than a grid), echoing the way they were first exhibited at the Ferus Gallery, Los Angeles, in 1962. The exhibition also includes drawings and illustrated books Warhol made in the 1950s, when he started his career as a commercial artist, and other paintings and prints from the 1960s, when he became a beacon of the Pop art movement.

As if you even care. Through October 18.

Actually, the real winner at MoMA right now is From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola.

From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola is the first major exhibition to focus on the German-born Grete Stern and the Argentinean Horacio Coppola, two leading figures of avant-garde photography who established themselves on both sides of the Atlantic. The exhibition begins in the late 1920s with each artist’s initial forays into photography and typographic design. In Berlin in 1927, Stern began taking private classes with Walter Peterhans, who was soon to become 106143head of photography at the Bauhaus. A year later, in Peterhans’s studio, she met Ellen (Rosenberg) Auerbach, with whom she opened a pioneering studio specializing in portraiture and advertising. Named after their childhood nicknames, the studio ringl + pit embraced both commercial and avant-garde loyalties, creating proto-feminist works. In Buenos Aires during the same period, Coppola initiated his photographic experimentations, exploring his surroundings and contributing to the discourse on modernist practices across media in local cultural magazines. In 1929 he founded the Buenos Aires Film Club to introduce the most innovative foreign films to Argentine audiences. His early works show the burgeoning interest in new modes of photographic expression that led him to the Bauhaus in 1932, where he met Stern and they began their joint history.

It’s a knockout, through October 4.

From there we headed to the New York Public Library for the Performing Arts (at Lincoln Center) for Sinatra: An American Icon (through September 4).

Great quote:

Frank Sinatra is a singer who comes along once in a lifetime, but why did he have to come in mine?

– Bing Crosby

The exhibit marks the Frank Sinatra Centennial and includes “never-before-seen photos, family mementos, rare correspondence, personal items, artwork, and, of course, music make up the exhibit. Most of the pieces come directly from the Sinatra family and have never been on public display before.”

Then again, some have:

The Sinatra: An American Icon exhibition has many wonderful media stations for visitors—songs, excerpts from television specials, films trailers and featurettes, and a juke box. But the one that is garnering the most attention is “The House I Live index.phpIn,” the RKO short film that won Sinatra his first Oscar.

The producers Frank Ross and Mervyn LeRoy made the short subject for RKO Radio Pictures, combining footage of Sinatra recording the ballad “If This is But a Dream” with a narrative section of him coming across a group of boys harassing a foreign-looking boy and teaching them about tolerance with the title song. In the phrase recommended for publicizing the featurette: “The theme of Tolerance, impassioned and thrilling in its fervent plea in Frank Sinatra’s sincere, human way.. an epochal inspiration of the public conscience.”

And here it is.

 

 

The NYPL show completed our Sinatra hat trick this past month: exhibit, HBO documentary All Or Nothing At All, and Gay Talese’s classic profile Frank Sinatra Has a Cold.

Swingin’!

Next stop: The New-York Historical Society to catch The Hirschfeld Century: The Art of Al Hirschfeld (through October 12).

From the website:

Al Hirschfeld (1903–2003) brought a distinct style to celebrity drawings, making his work instantly recognizable —to be selfportrait-full“Hirschfelded” was a sign that a performer had arrived. Now for the first time, nine decades of Hirschfeld’s work will be on display at the New-York Historical Society in The Hirschfeld Century: The Art of Al Hirschfeld, a multimedia exhibition organized in partnership with The Al Hirschfeld Foundation and in conjunction with Alfred A. Knopf’s publication of curator David Leopold’s groundbreaking book on the artist. The exhibition of over 100 original works includes many highlights from Hirschfeld’s prolific career with a special emphasis on the New York Times—where he was a contributor for over seven decades.

Hirshfeld indeed had a “distinct style” but what’s remarkable is the variety he displayed within it. Just three examples:

 

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ensemble_full

 

ringo-full

 

Now go count the Ninas.

Before we left N-YHS, we swung by Picasso’s “Le Tricorne”.

Pablo Picasso painted the stage curtain for the two-act ballet The Three-Cornered Hat (El sombrero de tres picos or Le tricorne). The ballet and curtain were commissioned by the impresario Sergei Diaghilev for his avant-garde, Paris-based Ballets Russes, the most influential ballet company of the twentieth-century. The ballet was choreographed by Léonide Massine with music by the Spanish composer Manuel de Falla. It premiered on July 22, 1919, at the Alhambra Theatre in London with sets, costume designs, and the monumental stage curtain created by Picasso. Picasso biographer John Richardson once called “Le Tricorne” the artist’s “supreme theatrical achievement.”

Le Tricorne:

 

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It’ll be there for awhile. (You can watch the installation here.)

Then it was back to Lincoln Center for Shows for Days (through August 23), the new play by Douglas Carter Beane that stars the ever-fabulous Patti Lupone, accompanied by a terrific cast.

 

 

You might have caught the rumpus the other week around LuPone’s snatching the cellphone from a woman who had been texting throughout the entire show.

Here’s LuPone the following night (tip o’ the pixel to Gothamist):

 

 

A theater legend is born.

* * * * * * *

Start today at the too-often-neglected Museum of the City of New York and its exhibit Everything Is Design: The Work of Paul Rand (through October 13).

Paul_Rand_hero

Everything Is Design: The Work of Paul Rand features more than 150 advertisements, posters, corporate brochures, and books by this master of American design. It was Rand who most creatively brought European avant-garde art movements such as Cubism and Constructivism to graphic design in the United States. His philosophy, as expressed in his work and writings, including the recently republished 1947 Thoughts on Design, argued that visual language should integrate form and function. Born in Brooklyn in humble circumstances, Rand (1914-1996) launched his career in the 1930s with magazine cover design and, starting in the early 1940s, he worked as an art director on Madison Avenue, where he helped revolutionize the advertising profession. He later served as design consultant to leading corporations like IBM, ABC, UPS, and Steve Jobs’s NeXT, for whom he conceived comprehensive visual communications systems, ranging from packaging to building signage, all grounded in recognizable logos, many of which are still in use today.

Illustrative video from Rand’s One Club Creative Hall of Fame 2007 induction.

 

 

Fun fact to know and tell: Rand always presented just one concept. You want other solutions, he said, talk to other designers.

Excellent!

Also at MCNY: a shiny Gilded New York (with a Tiffany & Co. tie-in), a cacophonous Folk City: New York and the Folk Music Revival, and the truly impressive Saving Place: 50 Years of New York City Landmarks.

From there it was just ten blocks to the Jewish Museum for Revolution of the Eye: Modern Art and the Birth of American Television (through September 27).

Revolution of the Eye: Modern Art and the Birth of American Television is the first exhibition to explore how avant-garde art influenced and shaped the look and content of network television in its formative years, from the late 1940s to the mid-1970s. During this period, the pioneers of American television—many of them young, Jewish, and aesthetically adventurous—had adopted modernism as a source of inspiration. Revolution of the Eye looks at how the dynamic new medium, in its risk-taking and aesthetic experimentation, paralleled and embraced cutting-edge art and design.

It’s a terrific exhibit, ranging from Ernie Kovacs to Andy Warhol.

But . . .

How does an “exhibition to explore how avant-garde art influenced and shaped the look and content of network television in its formative years” not include Fractured Fairy Tales?

 

 

Just askin’.

We drifted down Fifth Avenue to the Neue Galerie where Gustav Klimt and Adele Bloch-Bauer: The Woman in Gold (through September 7) is doing land-office business. But we were just as captivated by Russian Modernism: Cross-Currents of German and Russian Art, 1907-1917 (through August 31).

This exhibition is dedicated to modernist movements in German and Russian art at the beginning of the 20th century. Their victoriousdevelopment was parallel and often intersected.

This is the first exhibition at an American museum to focus exclusively on the important artistic links between these two countries, featuring works by artists Natalia Goncharova, Erich Heckel, Alexei von Jawlensky, Vasily Kandinsky, Ernst Ludwig Kirchner, Mikhail Larionov, and Gabriele Münter, among others.

Love those guys.

Four more blocks south and we’re at the Metropolitan Museum of Art, where there are two blockbuster exhibits.

Start slow with Sargent: Portraits of Artists & Friends, which “brings together ninety-two of the artist’s paintings and drawings of members of his impressive artistic circle. The individuals seen through Sargent’s eyes represent a range of leading figures in the creative arts of the time such as artists Claude Monet and Auguste Rodin, writers Robert Louis Stevenson and Henry James, and the actor Ellen Terry, among others.”

Favorites include W. Graham Robertson (“he’s nothing without the coat”):

 

Presented by W. Graham Robertson 1940

Presented by W. Graham Robertson 1940

 

And Robert Louis Stevenson in decline:

 

036-1. Robert Louis Stevenson

 

Then accelerate into China: Through the Looking Glass (through September 7), a knee-buckling exhibit that occupies parts of three floors of the museum and presents an almost hallucinogenic survey of Chinese-inspired fashion.

This exhibition explores the impact of Chinese aesthetics on Western fashion and how China has fueled the fashionable imagination for centuries. In this collaboration between The Costume Institute and the Department of Asian Art, high fashion is juxtaposed with Chinese costumes, paintings, porcelains, and other art, including films, to reveal enchanting reflections of Chinese imagery.

From the earliest period of European contact with China in the 04 Evening Dress Roberto Cavalli Fall 2005sixteenth century, the West has been enchanted with enigmatic objects and imagery from the East, providing inspiration for fashion designers from Paul Poiret to Yves Saint Laurent, whose fashions are infused at every turn with romance, nostalgia, and make-believe. Through the looking glass of fashion, designers conjoin disparate stylistic references into a pastiche of Chinese aesthetic and cultural traditions.

The exhibition features more than 140 examples of haute couture and avant-garde ready-to-wear alongside Chinese art. Filmic representations of China are incorporated throughout to reveal how our visions of China are framed by narratives that draw upon popular culture, and also to recognize the importance of cinema as a medium through which to understand the richness of Chinese history.

You really gotta see it to believe it.

* * * * * * *

On the way home we swung by the Bruce Museum in Greenwich to catch The Seven Deadly Sins: Pride, part of a seven-venue series of exhibitions mounted by the Fairfield/Westchester Museum Alliance (FWMA). The engrossing exhibit is “[a] study of exquisite master prints, drawings, paintings, rare books, and a video installation [that demonstrates] the breadth and endurance of the imagery of this deadly sin,” and runs through October 18.

We also visited Walls of Color: The Murals of Hans Hofmann (through September 6),        “[the] first-ever exhibition to focus on the artist’s varied and under-appreciated public mural projects. The centerpiece of Walls of Color: The Murals of Hans Hofmann [is] nine oil studies by Hofmann, each seven feet tall, for the redesign of the Peruvian city of Chimbote. This was Hofmann’s extraordinary collaboration, in 1950, with Catalan architect José Luis Sert – the man who designed the Spanish Pavilion at the Paris World’s Fair in 1937, for which Picasso’s great mural Guernica was conceived.”

Those murals were never produced. But these were:

Although now nearly forgotten, Hofmann also created two huge public murals in Manhattan. In 1956, for the developer William 11_Mosaic_711_webKaufman, and in collaboration with the noted pioneer modernist architect William Lescaze, Hofmann created an astonishing, brilliantly colored mosaic mural, wrapped around the elevator bank in the main entrance hall of the office building at 711 Third Avenue. Two years later, in 1958, commissioned by the New York City Board of Education, Hofmann created a 64-foot long and 11-foot tall mosaic-tile mural for the High School of Printing (now the High School of Graphic Arts Communication) on West 49th Street.

Very cool.

From there we swung by the Yale University Art Gallery to catch the last day of  Whistler in Paris, London, and Venice, “three of his earliest and most innovative sets of etchings, the so-called French, Thames, and Venice Sets.”

Representative samples:

 

1947.385, 48843

 

 

1927.69, 2927

 

1927.72, 2931

 

Whistler qualifies as one of the greatest etchers in history, and this exhibit showed why. It also featured etchings by some of Whistler’s contemporaries – his brother-in-law Francis Seymour Haden, Mortimer Menpes, Joseph Pennell – but with all of them the Missus and I had the same reaction: “Too many details.”

By coincidence, the curator of the Yale exhibit, Heather Nolin, gave a terrific lecture about Whistler and his etchings at Boston’s Museum of Fine Arts on Tuesday. But . . . that’s over as well.

Sorry.

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Headline New Network: This One’s Better (WWD Edition)

Second in what we expect will be a long-running series

Here’s the cover of the latest edition of WWD.

 

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And here, WWD editors, is what the headline should have been:

The Audacity of Haute

You’re welcome.

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Headline New Network: This One’s Better

First in what we expect will be a long-running series

Boston Globe columnist Scot Lehigh had a smart column on yesterday’s op-ed page.

 

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Except – all due respect, Editorial Page Editor Ellen Clegg – here’s what the headline should have been:

The Donald and the damage done

Cue the Neil Young classic.

 

 

So, to recap:

We’ve seen the Donald and the damage done.

A little part of it in everyone.

But every flunkie’s like a settin’ sun uh-huh.

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See ‘Irving Berlin’ and Never Hear ‘Suppertime’ the Same

As the hardtrundling staff noted the other day, the Missus and I thoroughly enjoyed the excellent Hershey Felder as Irving Berlin production at the Cutler Majestic Theatre.

What we derelictly failed to note was Felder’s moving performance of Suppertime, the song Berlin wrote in 1933 for Ethel Waters in the wake of two dozen lynchings of black men in the south.

 

 

Irving Berlin was a lot more than God Bless America.

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The Grey Lady Opens the Kimono (Russian Nesting Ads Edition)

The New York Times, which has gone all in with its native advertising factory T Brand Studio, continues to double up its print and native ads.

Earlier this year the Times played footsie with the Weinstein Company in promoting The Imitation Game. Right before that, the Times initiated its print/native combo platter with a campaign for Shell, as Digiday noted at the time.

The New York Times has been producing increasingly elaborate native ads online, and now it has gone a step further by extending the format to print for the first time.

nyt-vellumThe ad, for Shell, is set to appear in print and online Wednesday, and it’s a far cry from the advertorials of days past. First, the size: The print component is an eight-page section that’s wrapped around home-delivered copies. (In the case of newsstand copies, the ad wraps the business section.) The top sheet is opaque vellum, for extra effect. The print creative extends the Web version, with infographics that show the urbanization of the world’s population. In what the Times called “icing on the cake,” the print ads are enhanced by augmented reality, so that people using the Blippar app can initiate a video by holding their phone over the page.

Now comes the latest version, via Sunday’s New York Times . . .

Read the rest at Sneak Adtack.

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