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800px-savinien_de_cyrano_de_bergeracArt: Zacharie Heince (1611-1669)
The 19th Century Edmond Rostand comedy
Cyrano de Bergerac was recently performed in a New York prison that has unusual rehabilitation programs.

Sometimes when an article I want to share with you has its photos under lock and key, I look for alternative images on Google. It was interesting to see that modern renditions of the outsize nose on Cyrano de Bergerac are much more extreme than the one above. Today’s productions really go overboard trying to make the silver-tongued hero look as ugly as possible. A recent production in a prison also exaggerated the nose, which you can see if you click on the original article.

Jesse Wegman wrote about the show at the New York Times, “Cyrano de Bergerac will be eligible for parole in 2022. For the time being, he is a vision in Gallic effrontery, pinballing around the stage in the gymnasium at Fishkill Correctional Facility in Beacon, N.Y.

“The production of Edmond Rostand’s canonical 19th-century comedy, which enjoyed a well-attended two-day run early [in June], was the work of Rehabilitation Through the Arts, a 20-year-old organization that operates in prisons across New York State. The program introduces inmates to theater, dance, writing and other creative arts in the hope of teaching them life skills and improving their chances at success upon release. …

“When [inmates] proposed ‘Cyrano de Bergerac,’ the show’s director, Charlie Scatamacchia, was skeptical. ‘I thought, yeah, that’s not gonna happen,’ he said. ‘It’s got multiple scene changes, costume changes. It’s got sword fighting. I doubted my ability to direct them, and their ability to pick up these skills in the time we had. I’ve never been happier to be proved so wrong.’

“Behind the title character’s plastered-on proboscis and feathered chapeau is Rodney Spivey-Jones, a 35-year-old from Syracuse. Mr. Spivey-Jones, who had never acted before, first auditioned for the role of Le Bret, the play’s narrator. But Mr. Scatamacchia quickly realized that he was a good fit to play the lead — one of the most verbose roles in theater.

“Mr. Spivey-Jones is no stranger to addressing a crowd — he helped form an inmate debate team at another prison that beat a team from Harvard in 2015. Still, he had not given any thought to playing Cyrano and didn’t understand how big the role was until he kept getting called back to read for it. …

“When the show went up, Mr. Spivey-Jones realized that he had memorized not only his own lines but every other character’s as well — a handy trick when a castmate ran into trouble, and he could provide a cue on the spot. …

“A bigger obstacle than memorization, it turned out, was getting swords inside the prison. Corrections officials nixed various materials, like a hard plastic foil. … The cast of 13 men took the setbacks in stride, as people in prison learn to do with most things. Along with a professional actress, Kate Kenney, who played the role of Cyrano’s love interest, Roxane, the crew worked every week through the winter and spring to get the show into shape. …

“The program, which has about 400 alumni who were released from prison, is popular among both inmates and New York’s prison administrators, who have seen its philosophy pay off. Studies of prison-arts programs around the country, including R.T.A., have found that their participants are better behaved than other inmates, earned educational degrees earlier and in some cases are less likely to wind up back behind bars after release.”

It would be wrong to minimize the crimes these guys have committed or the pain they have caused their victims, but if there’s a way for offenders to become engaged with the world in more positive ways, that’s a good thing in my book.

And I love that play.

More at the New York Times, here.

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Photo: Amitava Sarkar/Forklift
The cast of
Served performs a dance phrase based on the five key movements of mopping. Forklift Danceworks makes choreography from everyday life, revealing the beauty and majesty of what you thought was mundane.

From childhood, I was always one for fantasy and found it easy to relate to imaginary worlds in the arts. Lately, though, I find myself more interested in art that feels relevant, art that uncovers wonder in everyday life. So it’s not surprising that this Dance Magazine article about discovering the dancelike moves of ordinary occupations appealed to me.

Nancy Wozny writes, “Austin renegade Allison Orr doesn’t use traditional performers. With her Forklift Danceworks, she has created dances featuring everyone from sanitation workers (The Trash Project) to power linemen (PowerUP), urban forestry department members (The Trees of Govalle) and food service employees (Served).

“Orr has a BA in anthropology and calls her process ‘ethnographic choreography.’ Using the movements of everyday workers, she crafts large-scale extravaganzas that have included more than 75 performers (and sometimes trucks), audiences of 2,000, and a deep research process that may involve her learning how to scale a power-line distribution pole or riding with a sanitation worker at 4 am.

“She recently spoke to Dance Magazine about her unique creative process.

” ‘When I start a new piece, I listen for the story the workers want told. What do they want people to know about what they do? I usually do about 50 to 100 interviews. Then I watch people doing their expert movement, looking for that seed. ,,, Usually there’s an all-staff meeting where I am introduced. Then I start job shadowing, working alongside them when I can. …

” ‘We don’t actually get people to agree to perform until very late in the process. I usually don’t ask for what we want until that person is likely to say yes. We put out a question, like “How do you cook an omelet in three minutes or less?” and they start choreographing it. Then they want to be in it, because they are the ones who can do it.

” ‘For the actual piece we organize sequences based on their movements, expanding it in space and time. For Served I watched one gentleman mop the floor and observed five different movements he does, including this beautiful turn. …

” ‘Because participants are asked to collaborate across different work groups to make the dance together, they build trust with people they might have worked with for years but never had the chance to really get to know.

” ‘The act of performing changes how collaborators see themselves. Being witnessed in one’s everyday work, particularly doing what might be thought of as mundane or ordinary, is transformational.’ ”

More at Dance Magazine, here.

Photo: Jonica Moore/Forklift Danceworks
A worker from Austin’s Urban Forestry Division performs in the dance
The Trees of Govanelle.

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Summer has its own pace — sometimes slow and sleepy, sometimes fast and exhausting. The grandchildren like to go-go-go. The older folks wouldn’t mind taking a nap every day.

This photo collection starts out with my energetic older grandson, who learned to surf this summer. Suzanne tried it, too, because John bought her a surfing lesson for her birthday. She says her nephew was really a natural.

Today’s pictures are all from Providence and New Shoreham.

Suzanne’s neighbor has the goofy fairy houses, and the elegant used bookstore Paper Nautilus is also near her home.

The Painted Rock is a beloved island feature — too beloved these days. People paint over one another’s messages within hours, and even a decent picture gets no respect. There were few decent pictures this year, mostly spray painted graffiti.

On our morning walk, Sandra and I snuck up on the bird that was visiting the Manissean cemetery, thinking we’d get a great shot of a heron. You have probably already realized it was only a cormorant. But what a cormorant was doing in the cemetery is anybody’s guess.

I wrap up with a pre-dawn view. “The moon was a ghostly galleon tossed upon cloudy seas.” (Wish I’d written that myself.)

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Photo: Moximox

After a year of waiting impatiently for summer, we always wanted to squeeze in every memorable summer activity we had ever done: crabbing, seining with a net, riding waves, building sand castles, walking to the Sunken Forest, digging for mole crabs, painting shells and selling them outside the house (what my father called teasingly “gypping the public”), roasting marshmallows at night. We did not want to miss one thing because we knew we’d have to wait a whole year for another chance. And in those days, a year seemed like an eternity.

One of the more iconic things I associate with summer is sea glass, and I recently was intrigued to learn from @chasonw on instagram that there was a place you could have the sea-glass experience any time of year. It’s called Glass Beach, and it’s at Fort Bragg, California. As pretty as sea glass is, you will not be surprised to learn that the abundance at Glass Beach is the result of years of dumping garbage.

From Wikipedia: “In 1906, Fort Bragg residents established an official water dump site behind the Union Lumber Company. … When [a second dump was] filled in 1949, the dump was moved north to what is now known as ‘Glass Beach,’ which remained an active dump site until 1967. …

“Over the next several decades, what was biodegradable in the dump sites simply degraded and all the metal and other items were eventually removed and sold as scrap or used in art. The pounding waves broke down the glass and pottery and tumbled those pieces into the small, smooth, colored pieces that often become jewelry quality and that cover Glass Beach and the other two glass beaches. …

erysimummenziesiieurekPhoto: Gordon Leppig & Andrea J. Pickart
Menzie’s Wallflower, an endangered species that grows at Glass Beach in California.

“About 1,000 to 1,200 tourists visit Fort Bragg’s glass beaches each day in the summer. Most collect some glass. Because of this and also because of natural factors (wave action is constantly grinding down the glass), the glass is slowly diminishing. There is currently a movement by Captain J.H. (Cass) Forrington to replenish the beaches with discarded glass.”

If you saw yesterday’s post, you know that replenishing the beach would be hard. There is a shortage of glass everywhere. Sea glass is moving into a category closer to semiprecious stones than its embryonic form as trash.

More at Wikipedia, here.

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Photo: Kelly Howard
At Lincoln City Glass Center, a glassblower melts down objects made of clear glass to keep the studio supplied during a glass shortage — the unintentional consequence of environmental regulations and high demand from large overseas companies.

When I read recently about the closing of a glass-recycling center in Massachusetts, I didn’t have the imagination to consider all the causes or all the consequences.  What I did learn at the time was that beer companies were not using glass bottles as much and were moving to cans. That was all I knew.

Come to find out, thanks to the Law of Unintended Consequences, environmental regulations are having an effect on the amount of glass pellets available for a range of traditional purposes — including the glassblower’s art.

Lori Tobias writes at Oregon ArtsWatch, “On the Oregon Coast, creating a work of glass art is a bucket-list favorite, and there’s plenty of places to make that happen. But recent weeks have stressed some mom-and-pop glassblowing studios to the point of, well, a meltdown. It seems there’s just not enough glass to go around.

“Robin and William Murphy, owners of the Oregon Coast Glassworks in Newport, ran into problems earlier this month when they tried to buy a new supply of ‘cullet’ glass – furnace-ready recycled glass pellets that glassblowers turn into floats, bowls, and other art. There was ‘no glass anywhere available for purchase,’ Robin Murphy said. Nor would there be any until November, they were told. The shortage seems to be the culmination of stricter environmental laws, which led to a cutback in suppliers, compounded most recently by heavy demands on an overseas supplier.

“The Murphys have launched a fundraising raffle – of a glass sea turtle crafted by William – to help finance a new furnace that will melt ‘batch,’ a pelletized powder that is an alternative to cullet. It requires a natural gas furnace or what’s known in the industry as a ‘moly’ (short for molybdenum) furnace – a piece of equipment that generally comes with a price tag ranging from $30,000 to $50,000. The Murphys have a less expensive wire-melt furnace, but it doesn’t get hot enough to melt batch. …

“Oregon Coast Glassworks isn’t the only small shop facing the shortage. The Edge Art Gallery in South Beach is also experiencing it, as is the Lincoln City Glass Center. One of the largest of the dozen or so glassblowers on the central and north Coast with 21 employees, the Glass Center does have a ‘moly’ furnace, capable of melting batch or cullet. Owner and glass artist Kelly Howard prefers to use cullet, but she also has been unable to get any.

“Most glassblowers agree that the problem can be traced to 2016, when the Oregon Department of Environmental Quality and the federal Environmental Protection Agency imposed stricter regulations on glass manufacturers, ultimately prompting the closure of two major suppliers. One was Spectrum, based in Woodinville, Wash., which supplied glass products for 40 years to many Pacific Northwest artists. Bullseye Glass Co. of Portland survived the crack-down, but does not provide the type of glass used by glass blowers.

“With Spectrum gone, glass blowing studios turned to a German manufacturer, Cristalica, which is distributed through Olympic Color Rods, headquartered in Seattle. But this summer, Cristalica failed to keep up with demand, in part because of the heavy use of existing equipment.

“Howard said she heard the German company had a furnace go down a couple of weeks ago ‘and didn’t give anyone a warning. They said there is no more, and what they had was all given to the big companies. All of the rest us didn’t get any.’ ”

More here. Raffle tickets for the sea turtle are available for $50 here or by calling the studio at 541-574-8226. The winner will be chosen Sept. 2. No more than 500 tickets will be sold.

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Photo: Celeste Noche
Charming Wigtown, Scotland, is famous as a “book town.”

Do you remember reading my post about Alex Johnson’s survey of “book towns,” small locales with numerous emporiums for buying books? Well, here’s another angle from the New York Times. It describes how a book critic got a taste of running a bookstore in one of the better known book towns.

Dwight Garner reports, “Recently, if only for a day, I had a bookstore in Scotland. …

“It is worth getting to Wigtown, population 1,000. [It] is lush and green and smells of the nearby sea. It is Scotland’s national book town, its Hay-on-Wye. With a dozen used bookstores tucked into its small downtown, it is a literary traveler’s Elysium.

“Best of all, Wigtown offers a literary experience unlike any other I’m aware of. In town there is a good used bookstore called the Open Book, with an apartment up above, that’s rentable by the week. Once you move in, the shop is yours to run as you see fit.

“I was handed the keys and a cash box. I was told I could reshelve and redecorate. I could invite Elena Ferrante and Thomas Pynchon to speak, and Sly Stone to play, if I could find them.

“The Open Book is run by a nonprofit group. It has touched a chord with so many people, from every continent, that it’s booked through 2021, which is as far as Airbnb will take reservations. There’s a waiting list after that. I managed to wedge myself in for a single night by begging and whining. …

“My first task as proprietor of the Open Book was one I hadn’t anticipated. What to write on the slate sandwich board that sits out front?

“A favorite exhortation came to mind. With chalk I scrawled: ‘Read at whim! Read at whim! — Randall Jarrell.’ For the opposite side, after a bit of puzzling, and given my physical and mental state, I shakily wrote: ‘Of course it’s all right for librarians to smell of drink. — Barbara Pym.’ I set my board outside.

“It was time to get a look around. The Open Book is not entirely my kind of used bookstore in that its literature section is modest, dwarfed by the sections for miscellaneous subjects like birds and Scotland and garden design. But there was a nice shelf of Penguins under the register. …

“I’ve worked in many bookstores in my life, and I hadn’t realized how much I missed them. It’s surprising what you learn, as if by osmosis, a daily mental steeping, about every possible subject.

“Often you learn more than you want to know, when people bring to the register books about hemorrhoid care, loneliness or coping with the death of a child. To this day, when a young person asks me for advice about finding employment in the word business, I say (after telling them to read like lunatics): Work in a bookstore if you can find one, or a library, all through high school and college. …

“A young couple, Beth Porter and Ben Please, arrived with their infant daughter, Molly. They had musical instruments in tow: Beth, a cello; Ben, a ukulele; Molly, a toy glockenspiel.

“Porter and Please are the core members of the Bookshop Band. They write songs inspired by books and play them in bookstores. I’d met them the night before at [large-bookshop proprietor Shaun] Bythell’s apartment, which is above his store. They’d decided to welcome me to Wigtown by performing an impromptu concert.

“The Bookshop Band is not just good but achingly good — listen to its soulful lament ‘Accidents and Pretty Girls,’ based on Ned Beauman’s novel ‘The Teleportation Accident’ — and it played a resonant 20-minute set for me and a few lucky droppers-in.”

More about the band and the temporary-shop-owner experience at the New York Times, here, where you can also enjoy some delightful photos. For an overview of Wigtown shops, check this out, too.

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Photo: Gil Sans
These folks started a theater with no money and filled a gap in neighbors’ lives. “If you build it, they will come.”

A recent article at Arts Professional shows that money isn’t the only tool for getting things done. Where there’s a will, there’s a way.

Anthony Briggs writes about what happened after he agreed to join Peter Tate in implementing a dream of creating truly relevant theater in London.

“When Peter asked me to join him as Co-Artistic Director of The Playground Theatre in May last year, I had been looking for a new challenge. [The] Playground’s previous life as a developmental space intrigued me, and Peter and I shared a vision of bold, imaginative and highly theatrical new work, developed with the local community in Latimer Road.

“Within a few weeks of us joining forces, the fire swept through the nearby Grenfell Tower. The events of that night had a huge impact on our vision for the theatre and our role in the local community. It was immediately apparent that what was needed was a place where people could share stories and grieve, and also hope and aspire for a better future for our area.

“North Kensington is a postcode of extremes with huge wealth sitting next to appalling poverty. It also includes probably the broadest ethnic mix of people in the UK. Finding a way to appeal to all our residents would be a challenge.

“When we first walked around the space there were only wall lights, so the first thing was to raise the money to kit the venue out and turn it into something fully functioning. … At the same time as raising funds and getting the theatre up and running, we faced the challenge of raising awareness and attracting an audience. …

“Doing anything for the first time can be an anxious experience, so we do all we can to make people feel welcome. We regularly post on local social media boards and leaflet along Portobello Road. Slowly the word is getting out.

“Everyone has an opinion about what we should be doing and that can be tiring. But to be a community theatre you have to be part of that community and that means engaging in constant conversation, even if it isn’t what you want to hear. We are dedicated to reflecting the diversity of our community through the diversity of our programming. …

“We have established good relationships with a nearby secondary school, Kensington Aldridge Academy, which is on a temporary site while its main building is being repaired following the Grenfell Fire. … Another partner is Grief Encounter, a child bereavement charity that has been active in our area following the fire.”

Read more here about how this new group is making theater that is relevant to people’s lives and thereby filling a gap.

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Photo: Ian Langsdon/EPA
René Magritte’s 1929 painting
La Trahison des Images, ceci n’est pas une pipe inspired a funny street name in Belgium. Given the opportunity to name streets, Belgians revealed themselves to be worthy of wearing the mantle of their imaginative compatriot.

I’ve always loved both the whimsy and depth of Belgian surrealist René Magritte, the artist with the green apples and bowler hats floating in clouds. Now a street-naming effort has revealed that the people of Belgium are worthy of wearing their compatriot’s august mantle.

Jennifer Rankin writes at the Guardian, “In Brussels, the home of surrealism, city officials have given their blessing to rename a street in homage to one of René Magritte’s best-known paintings. Ceci n’est pas une rue (This is not a street) is inspired by The Treachery of Images, painted in 1929 by the Belgian artist, who lived in Brussels for decades.

“It was one of nearly 1,400 suggestions made by the public in response to an initiative to generate interest in a regeneration project in a former industrial district in the north of the city. …

“Many of the winning names are whimsical or poetic, or evoke the quirkiness of the Belgian capital. In a rejuvenated park, pedestrians and cyclists will be able to follow Better World Path, or Happiness Way. Visitors may end up on Place des choukes — chouke, ‘little cabbage,’ translates as a warmer version of ‘darling.’ A final stop might be Dreams Drive, euphonious Drèves des rêves or Dromendreef. … All treet names are in French and [Flemish]. …

“The final names were chosen by a jury comprising city officials, local heritage experts and property developer Extensa, which bought the vast derelict site from the Brussels capital region in 1999. …

“Kris Verhellen, chief executive of Extensa, said the company would never have dared to make some of the suggestions. …

I thought it was very moving because we are so used to being so negative about this city.’

“While most of the streets will be private, the larger ones leading to the site will be public. But tourists looking for a selfie will have to wait a few years, as most will not be redeveloped until 2020.

“Not every suggestion made the cut. The jury rejected Rue du gentrification — an implicit criticism that the development company rebuffed, saying that up to 25% of the newly-built apartments was social housing.”

More at the Guardian, here.

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Photo: Jim Davis/Globe Staff
Marc Wallerce (left), owner of the Winthrop Marketplace, greets Jeffrey Carson of Mi-Amore as Carson picks up food for distribution to families that need it.

Wow, there are as many ways to get food to people who might otherwise go hungry as there are people who want to end hunger. It was only a couple weeks ago that I posted about a food initiative in Toronto. Here’s one in Massachusetts.

Alison Arnett writes at the Boston Globe, “In 2014, Jeffrey Carson heard an NPR piece about how much food was wasted in America despite ongoing hunger. It hit a nerve with Carson, who himself had grown up in a family dependent on food stamps and had just had his first child, and he determined that he wanted to do something about it. ‘I wanted my daughter to come up in volunteerism that was part of our life,’ he added, not just something ‘we volunteered for once a year.’

“So Carson and his wife, Suzanne, both veterans, began to work on creating a nonprofit in Winthrop where they live. The idea for Mi-Amore seemed ‘so simple,’ says Carson: Food was going to waste — in the United States it is estimated that as much as 30 percent to 40 percent of edible food is wasted each year — and yet there were people who went hungry. As military officers, both he and his wife were used to finding solutions to problems, Carson says.

“There were many snags along the way, but today Mi-Amore provides food for 40 elderly people, single-parent families, and recovering addicts in Winthrop. Unusual among food relief programs where recipients must go to a central soup kitchen or food aid office open only restricted hours, Mi-Amore’s eight volunteers, all Winthrop residents, pick up the donated food three times a week and deliver it to the homes of the recipients. Most families get at least one delivery of food a week. The program has a board of town residents, and donations of surplus food from the Winthrop Marketplace, several restaurants, assisted-living centers, and schools. …

“Half of the recipients are children. When asked about recovering addicts, Carson says that ‘recovering’ can be a loose term but is quick to recount what one board member, a school nurse, told him. ‘Having food in your refrigerator sometimes is the line between recovering or not,’ she said, adding that the stress of no food can push some over the edge.

“The beginnings of Mi-Amore, in its third year, weren’t smooth, Carson says. After he and his wife did the structural work to set up a nonprofit, he contacted restaurants and other businesses about donating food that might go to waste, surprised when he got refusals or no answers. But then, Carson said, he met two women, Amie Hanrahan of The Arbors Assisted Living Communities and Ann Vasquez of La Siena restaurant, who immediately ‘got it,’ Carson says. … From that beginning, the program started to gain momentum.”

I’m not really surprised that two former military officers have shown perseverance when faced with the challenges of launching something new. As Massachusetts Congressman Seth Moulton, a former Marine, has often said in the context of what sorts of people he’d like to see run for office, veterans are generally people who are motivated by public service more than personal gain.

Jeffrey and Suzanne Carson strike me as perfect examples of veterans motivated by public service.

More at the Boston Globe, here.

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Photo: Boston Society of Architects
This open staircase is pretty cool. Unless you are wearing a skirt.

A recent twitter series gave me a laugh. It sure shows how your perspective may change with a change of clothes.

At the Los Angeles Times, Carolina A. Miranda wrote how she hit a nerve with one frustrated tweet.

“A couple of weeks ago, after viewing an architectural schematic that featured a pair of elevated glass catwalks, I posted a tweet that invited male architects to navigate their own designs in a skirt.

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@cmonstah
Idea: All male architects should be required to navigate their own buildings in a skirt.

“The post ignited a flurry of responses from women, including Mary McNamara, Los Angeles Times assistant managing editor and former television critic, who suggested adding heels to the mix. To that challenge, design writer Alissa Walker of Curbed added babies. …

“I took [a picture] at the Nicanor Parra Library at Diego Portales University in Santiago, Chile, in 2015. The building was designed by Chilean architect Mathias Klotz and was completed in 2012 — in other words, at a point in time when male architects should know better. Yet the library features glass floors in locations throughout the building. …

“John Hill, who writes the blog ‘A Daily Dose of Architecture,’ pointed out the use of see-through walkways in Rafael Viñoly’s building for the architecture school he designed for the City College of New York — which he completed in 2009. City College isn’t the only school of architecture to employ transparent walkways. …

“This not only affects the women who work and study in those buildings — according to the Assn. of Collegiate Schools of Architecture, 42% of accredited architecture degrees were awarded to women in 2013 — but it normalizes the idea among architecture students that transparent walkways are just a benign architectural feature. They are not. …

“In 2010, technology writer Joanne McNeil wrote about this very topic in a post that ran on her blog ‘Tomorrow Museum,’ later reprinted by Mediaite.

” ‘If I were commissioning the interior of any kind of store and someone brought me blueprints including glass staircases, I’d tell him to take a hike,’ she wrote then. ‘I wouldn’t give him a second shot. If he’s not intuitive enough to grasp that women in skirts will be uncomfortable walking upstairs, clouded glass or not, then what other errors has he made in his design?’

“So, if there are a few good men out there (within driving distance of Los Angeles) willing to walk around one their own or someone else’s buildings in a skirt — while wearing high heels and holding a purse and a baby — my lines are open.”

More here. Let me know if you have encountered similar architectural challenges. Although I wear pants more often these days, I have memories of negotiating the green staircase above in a skirt — uncomfortably.

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Photo: Christa Case Bryant/Christian Science Monitor
Krista Badiane, a sustainability consultant, is raising two daughters with her Senegalese husband in Grand Rapids, Michigan. She always imagined settling on the East or West Coast but says it would be hard to recreate the quality of life they have in Michigan.

The country is divided, or so commentators tell us over and over. Sometimes I wonder if it’s exaggerated. Many of us make a point of enjoying all the things we have in common with folks whose politics seem to be different.

In a recent article, we also learn that when people start living side-by-side with those who have a different world view, benefits rub off in both directions.

Christa Case Bryant writes at the Christian Science Monitor, “Aaron Ofseyer and his wife, Anne Rosenbaum, planned on staying a few years, but eight years later they’re still in Grand Rapids. They’ve bought a house, had two children, joined a synagogue, gotten library cards, and are regulars at cultural events. Like many transplants from costly coastal cities, they find Grand Rapids to be welcoming and affordable. …

“Ofseyer and Ms. Rosenbaum also like the diversity of political viewpoints that gets them out of their liberal bubble. When they eat out in hip neighborhoods, they sometimes look over to see fellow diners praying or holding a Bible study group.

“ ‘We’re forced to confront people who are different than us … [and] even though politically you might have a different frame of reference, there’s way more that unites us than divides us politically,’ says Ofseyer. …

“Across the country, young professionals are carving out a new niche in second-tier cities where their wages go further. Most are seeking a more affordable lifestyle, as well as a stronger sense of community and the opportunity to make more of an impact. That this movement is largely from Democratic-run cities to conservative corners of the country raises questions over what political values may emerge, and whether it’s possible to find common ground in a hyper-partisan era. …

“Says Joel Kotkin, executive director of the Houston-based Center for Opportunity Urbanism, ‘It’ll be interesting to see whether we see a new politics, which combines some of the social values of the blue states with some of the cultural beliefs of the red states,’ like religion, community, and self-sufficiency. …

“Among young professionals who do migrate, there is a strong desire for community, says Anne Snyder, a writer and scholar who studies civil society in small and mid-sized cities. Their formative years were shaped by disillusionment with politics and distrust of institutions such as marriage.

“ ‘I think Millennials are just so hungry – hungrier than their predecessors were – to experience the sense of belonging that I think is a timeless need and desire, and have not wound up finding it in their national political expression,’ says Ms. Snyder, a millennial herself.

“That makes the social-media generation less ideological and eager to make a practical contribution wherever they live. ‘The things that matter most are serving your community, people in the flesh,’ she says.”

More at the Christian Science Monitor, here. I’d love to hear how you maintain friendly relations across real or perceived political divides in your world.

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Turn your face to the sun.

These beauties in the Concord community garden have been rejoicing in our hot humid, summer. Good to remember.

Here is a collection of my latest photos. Most of them are self-explanatory. The first three are from my latest trip to New York to be with my sister as she started treatment for brain cancer. They include the George Washington Bridge (makes me break into that silly song, which just repeats the name of the bridge over and over), the mural on the school near my sister and brother-in-law’s apartment, and a typical rooftop water tower in early morning light.

Next, I wanted to be sure to show you what the lotus whose progress I documented in a recent post looks like after the petals fall off. It looks like a shower head. I think I’ve seen these giant pods in exotic flower arrangements. Have you?

The next five are from Rhode Island. The little girl on the boat seemed curious about everything she saw. I think she may have been Amish.

The last four pictures are from Concord, Massachusetts. The corn in the garden of the Old Manse is now “as high as an elephant’s eye.” And I love seeing artists painting the town.

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Photo: Jean Couch
A man in Rajasthan, India, sits at his loom, weaving for hours each day with exemplary posture. He untucks his pelvis and elongates his spine. Check out the gif showing how people elsewhere sit differently from Americans.

I have had back pain off and on for decades. I do physical therapy exercises every day to keep it in check, and in recent years I have focused on not sitting too much. Sitting is bad, doctors say. “Get up and walk around at least every 20 minutes.”

But come to find out, it isn’t sitting that is bad, it’s the way Americans sit. Other countries have very little back pain.

Michaeleen Doucleff writes at National Public Radio, “My back hurts when I sit down. It’s been going on for 10 years. It really doesn’t matter where I am — at work, at a restaurant, even on our couch at home. My lower back screams, ‘Stop sitting!’

“To try to reduce the pain, I bought a kneeling chair at work. Then I got a standing desk. Then I went back to a regular chair because standing became painful. I’ve seen physical therapists, orthopedic surgeons and pain specialists. I’ve mastered Pilates, increased flexibility and strengthened muscles. …

“Then back in November, I walked into the studio of Jenn Sherer in Palo Alto, Calif. She is part of a growing movement on the West Coast to teach people to move and sit and stand as they did in the past — and as they still do in other parts of the world. For the past 8 years, Sherer has been helping people reduce their back pain.

“I was interviewing Sherer for a story about bending. But she could tell I was in pain. So I told her my story.

“Her response left me speechless: ‘Sitting is a place where you can find heaven in your joints and in your back,’ she says. ‘It’s not sitting that’s causing the pain, it’s how you’re sitting. …

“Anthropologist David Raichlen at the University of Arizona says [of the Hazda in Tanzania], ‘They do a lot of upper body work, [and] they spend quite a bit of time walking — at a pretty high rate of speed.’ ,,,

“But do the Hadza actually sit less than we do? A few years ago, Raichlen and colleagues decided to find out. They strapped heart-rate monitors onto nearly 50 Hadza adults for eight weeks and measured how often each day, they were just, well … sitting around. The results shocked Raichlen. ‘ The Hadza are in resting postures about as much as we Americans are,’ he says. …

“But here’s the thing: The Hadza don’t seem to have the back issues that we Americans have, even as they age. …

“Over the past century or so, many Americans have lost the art of sitting, [Orthopedic surgeon Nomi Khan] says. Most people in the U.S. — even children — are sitting in one particular way that’s stressing their backs. You might not realize you’re doing it. But it’s super easy to see in other people.

“Here’s how: Take a look at people who are sitting down – not face-on but rather from the side, in profile, so you can see the shape of their spine. There’s a high probability their back is curving like the letter C — or some version of C. …

“Sitting in a C-shape, over time, can cause disk degeneration. Or one side of a disk can start to bulge. …

“At Sherer’s studio, she pulls a up a photo of gray-haired man sitting at a loom. He must be at least in his 60s.

” ‘This is taken in Rajasthan, India,’ Sherer says. ‘The man sits at the loom weaving, for hours and hours every day, just like we do at a computer,’ she says. ‘And yet his spine is still elongated.’

“Elongated is an understatement. This man’s spine is straight as an exclamation point. His shoulders are rolled back. His muscles looked relaxed and flexible. …

“One of the problems, Sherer says, is our culture focuses on trying to fix the upper body. ‘Sit up straight,’ parents and teachers say, and most of us immediately stick our chests out. …

“Instead of focusing on the chest or shoulders, Sherer says, we need to turn our attention to a body part that is lower down, below the waist: the pelvis. ‘It’s like a stack of toy blocks. If the blocks at the bottom aren’t sturdy, then the top has no chance.’ …

“To figure out how to shift your pelvis into a healthier position, Sherer says to imagine for a minute you have a tail. If we were designed like dogs, the tail would be right at the base of your spine. … In other words, we need to untuck our tails. To do that, Sherer says, you need to bend over properly when you go to sit down. …

“If you bend at the waist, which many Americans do, then you will likely sit with a C or cashew shape. If you bend at the hips … you’re more likely to sit correctly with your tail untucked. …

‘” ‘Stand up and spread your heels about 12 inches apart,’ she says. Now, put your hand on your pubic bone — like a fig leaf covering up Adam in the Bible, she explains.

” ‘When you bend over, you want to let this fig leaf — your pubic bone — move through your legs,’ she says. ‘This creates a crease between your pelvis and legs.’

“This action also pretty much pokes your butt out, behind your spine. “Now go ahead, sit down,” Sherer says. …

“The next step is to relax the muscles in your back and chest. ‘Stop sticking out your chest,’ Sherer says. Then the rest of the spinal vertebrae can stack up in one straight line, like an I instead of a C.” More at NPR, here.

I’m really going to work on this.

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Photo: Marc Royce/Los Angeles Times
Conductor Eric Whitacre (above), the Los Angeles Master Chorale, and a 2,200-person audience at Walt Disney Concert Hall participated in “the largest free group singing event in California history” on July 21.

Kudos to creative thinkers who keep coming up with new ideas to engage people in the arts! In July, the conductor of the Los Angeles Master Chorale led an exceptionally large audience of interested Californians in a free singing event that must have warmed the cockles of a lot of hearts. This went well beyond the annual singing of the “Hallelujah Chorus,” which many other choral groups invite the public to join.

Jessica Gelt of the Los Angeles Times reports, “Eric Whitacre, the Los Angeles Master Chorale’s Swan family artist-in-residence, says he’s like that old cola commercial — he wants to teach the world to sing. The whole world. And he’s not joking. But he’ll start with a statewide singing event, ‘Big Sing California.’ …

“The massive project, years in the making, [featured] the 100-voice Master Chorale onstage singing along with 2,200 audience members to a program of songs selected and conducted by Whitacre and Master Chorale Artistic Director Grant Gershon, along with guest conductors Moira Smiley and Rollo Dilworth.

“Those proceedings [were] simulcast to five venues all over the state packed with additional audience members [also] singing along. Each venue [rehearsed] with its audience for a few hours before the event. …

“ ‘If you’ve never experienced a couple thousand people singing together, it just brings chills. … It’s the best of human experience … the best of who we are distilled together.’

“Whitacre began singing when he was 18, and it changed his life. He has been singing and composing since then, traveling the world in the process, establishing a massive social media following and creating a series of online ‘virtual choirs,’ which are edited together after participants upload videos of themselves all singing the same song. …

“Gershon adds that Whitacre has ‘single-handedly gotten more people excited about singing together than anyone else on the planet. He confirms that the choral experience is transcendent and transformative.’ ”

More at the Los Angeles Times, here. The list of songs are here.

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Photo: Canwood Gallery
An art lover in Herefordshire, England, has turned a cow shed and an old tractor barn into an elegant gallery and event locale.

I love reading about something old getting a new lease on life and serving a completely different purpose. On this farm, workaday buildings were creatively adapted for an art gallery.

Vanessa Thrope writes at the Guardian, “A cow shed and an old tractor barn in rural Herefordshire are not where most people would go in search of the avant garde or the latest in abstract painting. But retired farmer Stephen Dale is challenging the assumption that modern art is best appreciated by city dwellers.

“A run of exhibitions staged by the 74-year-old at the free public art gallery he set up two years ago in Checkley, near Hereford, have now drawn big names from the art world and proved the scale of an appetite for the unexpected in the countryside.

“Canwood Gallery and Sculpture Park, built by Dale on arable land he once farmed, is opening a show of previously unseen paintings by the veteran Royal Academician Anthony Whishaw. The exhibition, Experiences of Nature, also features the work of Whishaw’s late wife, the artist Jean Gibson, as well as a sculpture by her famous former pupil, Nicole Farhi.

“Dale’s unusual, charitable plan to create a gallery in an area of outstanding natural beauty was financed by the sale of much of his land. The farmer’s strong feeling for unconventional art emerged more than 40 years ago, while he was undergoing a difficult and long round of experimental treatments for leukaemia in the 1970s.

“Travelling down to London to take part in a series of drug trials at St Bartholomew’s hospital, Dale entertained himself in his free time with visits to art galleries. An early trip to see Carl Andre’s notorious arrangement of bricks, Equivalent VIII, at the Tate changed his life. A passion for modern art was born. ‘It may sound strange, but the hairs on the back of my neck stood up. I guess I fell in love with the bricks,’ Dale said. …

“In Canwood’s first major exhibition last summer, Bricks in the Sticks – A Farmer’s Inspiration, Dale featured a piece made by Carl Andre himself. The American artist’s Isoclast 07 graphite bricks installation, bought by Dale at auction, stood alongside the work of other international artists. A show of Matisse prints followed, and visitors rolled in.

“ ‘Running a farm and running a gallery turn out to be equally stressful,’ said Dale. ‘I did not expect the numbers of people we have coming, nor the standard of artists.’

“While Dale aims at the sort of regional significance enjoyed by the Yorkshire Sculpture Park near Wakefield, he also likes the idea of the example set by former farmer and Glastonbury Festival host Michael Eavis at Worthy Farm in Somerset: ‘A festival like that for visual arts would be something.’ ” Dale gives profits from the gallery to the hospital that saved him.

Read more about the artists here.

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