It’s time to close our special Harp Music Week, here on Musica in Extenso! For the final post I choose a work from a famous and prodigious composer, Claude Debussy.
Today on Musica in Extenso:
Sonata for Flute, Viola and Harp
One of the most unknown and underrated chamber works by Debussy. It has an unusual instrument combination, chosen by Debussy as a best for the mood of the piece. Changing between pleasant and dissonant, with unique chord progressions, it’s truly a gem of early 20th century chamber music. The link will take you to a split 3 part recording, I chose this one because it’s simply the best one.
Thank you for your attention and special thanks to the Editorial Board! Have a beautiful weekend!
I honestly now want the fic where Jack might be an extremely successful hockey player, etc, but for the rest of the world who don’t follow NHL and sport news, he’s Eric Bittle’s trophy husband.
Eric Bittle, who has his own Cooking Show, a Baking Contest Reality TV spin off, a chain of bakeries expanding all over the country, a series of books, and is a guest editor in some cooking magazines.
He’s Beyonce’s go to guy for Blue Ivy’s birthday cakes.
So yeah, his husband married him for the money. Never mind that they are college sweethearts and they married before Bitty had his big break.
And Bitty married him for his good looks. I mean Jack looks like a model, has that amazing bod and booty and is pretty much silent anytime they are in front of the cameras, it is clear he’s the classic dumb jock stereotype.
Bitty always gets extremely offended by that, Jack thinks it’s hilarious. He might play it up sometimes just to get out of interviews.
Jack always endlessly amused that the paparazzi that follow them are there for Bitty. They don’t particularly care about Jack. Their photos appear in the magazines as “Eric Bittle and husband.”
Jack has managed his life long dream of achieving invisibility in the media by marrying somebody who overshadows him. It is everything he ever wanted. He brags about it to anybody who will listen.
Bitty remains annoyed.
Once they are home, after going to a premiere of something/red carpet event.
“You have won 3 Stanley Cups! One two weeks ago! Why don’t they ask you about that? They only asked you what you were wearing!”
“Hugo Boss” Jack says without missing a bit.
“You could try not to make it so easy for them.”
“You are enjoying this too much.”
“Besides Bitty, you ordered a Pumpkin Spice drink today and went to do your own grocery shopping, how could I compare to that?”
“Jack this isn’t funny! I’m proud of you and I want them to know that.”
“I’m proud of you too, I mean, look at you walking down the street with sunglasses on.”
“I hate you.”
“Oh look, you are cheating on me with Shitty, Ransom, and Chowder… oh, also with Lardo? Bitty, I could forgive the first three, but not Lardo!”
“That’s it, you cannot buy anymore tabloids.”
“But Bitty! This magazine says we are getting a divorce! If I hadn’t bought the magazine, I wouldn’t have known to start packing my bags. Also, I apparently didn’t sign any prenup, so you owe me a lot of money.”
This issue of “Art & Design” gives a colourful overview of the work produced during one of the most artistically creative and prolific eras of the 20th century. Russian avant-garde art and design was an expression of a profound change in the sensibility of mankind, a search for a utopia. Guest-editor Victor Arwas, an expert on art and the decorative arts of the early part of this century, provides several informative sections covering avant-garde painting, reliefs, ceramics, books and graphics, stage design collage and photomontage and photography. Work by Lissitzky, Rodchenko, Stepanova, Popova, Tatlina and Malevich as well as many others is presented in full colour and biographies of over 30 artists are also featured.
We are in the middle of this special Harp Music Week, here on Musica in Extenso! For today we will go on with a famous 20th Century composer, Benjamin Britten.
Today on Musica in Extenso:
Suite for harp, Op. 83
Catrin Finch - harp
This piece is very non-harp, at least in the traditional sense, you won’t hear much arpeggi, glissandi or overall nice, flowy sounds. However, Britten knew exactly what he was doing - he wanted to explore a different area of the instrument’s possibilities, and he did that, creating five movements of something really new and unique for that time, which at the same time carries the signature Britten sound.
It’s time to continue our Harp Music Week, here at Musica in Extenso! For today I tought that we can talk about a french composer, conductor and harpist, Carlos Salzedo.
Today on Musica in Extenso:
Carlos Salzedo (Charles Moïse Léon Salzedo)
Variations sur un thème dans le style ancien
This is Salzedo in all his pomp - starting with a simple baroque theme, then going crazy with 11 variations, some of which are in the style of traditional baroque suite dances, some are in the form of ornate clusters of scales, glissandos and trills supported by counterpoint bass. Excuse the recording, but it’s hard to find someone who actually plays the whole piece, not just selections.
Sword Art Online season 3 confirmed for production following -Ordinal Scale-
According to the source who confirmed the SAO movie’s worldwide release, season 3 was also a topic of discussion at SakuraCon. According to the guests (author Reki Kawahara, editor Kazuma Miki, and producer Shinichiro Kashiwada of Aniplex), season 3 of SAO will begin production once -Ordinal Scale- is finished.
This is direct confirmation from both Aniplex and Kawahara that season 3 will be happening. A release is likely (but still unconfirmed) for 2018.
LACOMBE ICONS: OSCAR ISAAC
THE MOTIVATION IN MYSTERY
JULY 20, 2015
Words by Oscar Isaac
With a seemingly limitless capacity to explore complex psychological terrain, Oscar Isaac has grown from a catalytic character actor into one of the preeminent stars in contemporary film. The actor reflects on the isolation behind his creative drive, and the motivation in mystery.
Several years ago, I did a movie with William Hurt. I was just was so curious, and blown away by him and his mind. Right before action, he would say to himself, “I’m going to die.” It’s an amazing tool to remind yourself of your mortality. It destroys tension, and puts you in touch with your humanness and how small you are. No matter what context you’re in, you don’t have to be, and can’t be, more than you really are.
Ever since I was little, I’ve been in a constant state of existential anxiety, it’s been a little bit of a preoccupation, and I’m sure I’m not alone. I think that’s probably the state of humans—an utter and palpable feeling of isolation—and that’s why we need to make things. Something happens when this switch gets turned on, and I realize, “Oh my gosh, we’re completely alone.” And that is what I try to tap into. I think that’s probably at the heart of why I like doing this so much. It’s a direct outlet for that anxiety, and through being other people and finding an engine of expression, there’s a feeling of immortality. I get to live all of these lives.
In character, there’s the artisanal aspect that’s interesting, but then there’s the more shamanistic elements, the ritual that is performed, with an audience in the hopes of bridging a spiritual plane. And I try to locate the spiritual plane. I’m obsessed with the idea that when people are really connected to a performance, it’s when the audience and the performer are breathing at the same time. A very pack-animal thing happens. Everyone’s breathing together, they become ‘in’ the same moment together. In a live room, it’s incredible, but with film, you can breathe with someone who’s long dead, but you find yourself moving together at the same rhythm. That’s communicating with the dead.
I believe very strongly in acting as an expressive art, not a communicative one. It’s more akin to abstract painting. When it becomes literal it dies. Because the camera only sees, it doesn’t dictate anything. The audience wants to experience someone seeing and feeling, not judging, not being ahead of it, just expressing their humanity, regardless of what the role is. There is a bit of subversion that has to happen as well, that’s when you connect back to the idea, “I’m going to die.” It’s fucking serious. I’m going to die. I can’t pretend that what’s happening in the room has happened before—it can only be about the present moment, regardless of how it unfolds. But all those things have to be unconscious and it all has to come to a head. And through that crisis, you can give voice to a particular life.
I recently was watching police brutality videos online. It would enrage me so much. My heart pounded from the horror of watching people abuse their power. I put myself there and tried to imagine being the victim or the aggressor. To imagine myself as the cop enraged me all the more, because there was a sadness about it; because you saw that he was all pumped up and the adrenaline was shooting through him, and he was scared—you try to imagine why he became a cop or why certain people become who they become, and how things change both over time and in a second.
We have selective empathy. All people have that. You can empathize with one thing, and then decide that this person does not deserve that. Of course, you know forgiveness is a funny thing. Forgiveness would mean that you still have to recognize their humanity, regardless of their actions or what crimes they commit. Beyond their cruelty, they’re just as isolated as you are. I guess they also have to forgive themselves. They make a construct where they’re not guilty, which is probably their way of survival. It’s a justification. I saturate myself with these things, and they get filtered into my work somehow, particularly the idea of abuse. I think that comes out in Ex Machina. Unconsciously.
The illusiveness of it is everything. As animals, we’re hardwired to respond to change. Any shift in environment, anything that you’re seeing, it electrifies you. In characters I try to find the mystery or the duality. There are always two things happening. One is who they’re trying to present, and two is who they can’t help but be. And those two things are constantly battling each other. And when one comes out, the other one comes out more, and that gives us a sense of, “We don’t know exactly who this person is or what they want.” You’re seeing these changes happening—it’s like meeting a new person. And that makes you pay attention. It lets you get lost in someone.
Sometimes all the work you put in, all the inspiration, all the meditations— all this melts away for a moment, and it really is like an elevated state of being for a second. It actually feels like a deeper version of myself. In those little moments, it’s such a spiritual thing. It’s worth all the work and the humiliation. With this work, although there is little chance of any physical danger, the possibility for psychological danger is high. You’re putting yourself into the arena and trying to allow your unconscious to speak to the world, and it’s a very weird thing to do, so the possibility for humiliation and psychological damage is worth it for the exhilarating moments of grace that happen when you’re surfing your own unconscious reality.
Photography: Brigitte Lacombe
Guest Photo Editor: Janet Johnson
“It Girl” is a vague term. What is “it” exactly that cool gals seem to naturally radiate? Whatever it is, Kendall Jenner and Irene Kim certainly live and breathe it—and leave us sitting back in awe. So when we found The Estée Edit tapped the two as the Guest Editors of its so-mod and incredibly chic line, we were stoked. The Sephora Glossy caught up with Jenner and Kim to learn their beauty secrets—and okay, hope that some of their “itness” would rub off on us, too. JESSICA VELEZ
We’re all about inspiring fearlessness at Sephora. Who’s someone in your life you think is fearless and inspiring?
Kendall: “I would say my Dad inspires me as a fearless person. (Every time I’m going somewhere, to a party and she knows I’m headed there, she always texts me, “Don’t do anything I wouldn’t do.” I try to keep that in mind.”
Irene: “My mother and grandmother. They’re very stylish and into beauty. My grandma is always made up. Her glasses are blinged out.”
What’s a “fearless” beauty attitude you’ve done and love?
Kendall: “I tried a really intense black smoky eye at a party recently. The makeup artist wanted to just try it, since usually I do a natural smoky eye. It was all black shadow on top, with nothing below, not even mascara. It photographed really cool.”
What about your go-to beauty attitude?
Kendall: “I love a nude lip and smoky eye. I don’t use too much black in my smoky eye. I do more browns and greys. I love brown shadows. That’s my signature look.”
Let’s Beauty Together is the Sephora ethos. Who do you like to “beauty together” with?
Kendall: “I love getting ready with my friends. I have a big, lucite display of makeup in my bathroom. I’m always sharing my makeup when they come over. I actually do my friends’ makeup. They ask me to do it. I have one friend that never wears makeup, so whenever she goes out and we’re together she asks me to do her makeup and she knows I won’t do an intense look on her—so she trusts me. She doesn’t even need to wear makeup, she’s so pretty, but she trusts me to do it when she wants to go out. I also played with my mom’s and sisters’ makeup all the time with my little sister. We always like to pretend doing ‘older things’ that everyone else was doing, like shaving.”
What beauty trends are you into right now?
Irene: “I’m very excited for the natural bare look that I’ve been seeing on the runway a lot. The girls look like they’re barely wearing any makeup and it’s refreshing. I think it’s a timeless trend. People are really into skincare more lately, too, and I love that. It’s about being beautiful not only with makeup but making your skin beautiful and healthy. My mom and grandma are all about the night, day, and moisture creams and every other cream for your body and face.”
You’re both so confident! Do you have any advice to boost self-esteem?
Kendall: “It’s not always what’s on the outside. I have so many friends that are the most confident women you could meet, they’re like ‘IDGAF,’ and those people inspire me to be more like that. It’s just believing in yourself and not getting caught up what people are thinking. I live in a world where I’m observed with a microscope. You can’t listen to everyone else, just yourself. What you think about me is none of my business. Know and believe that you’re a boss.”
Irene: “It’s about having good energy. The aura you exude shows through your face. If you’re not a happy person, it shows. If you’re cringing all the time, you get wrinkles. Be positive. Have good energy and vibes. Find your own identity and really trying not to be anyone else—that’s what’s been working for me. I don’t think Estée chose me because I have a cute face or my appearance. It’s because I’ve been myself. It should always be about being authentic and true to yourself.”
Given all that, do you still have any beauty insecurities?
Kendall: “I’m not always super comfortable with my skin. I get random breakouts sometimes. I grew up with a lot of bad acne. I wouldn’t look people in the eyes, I was so self-conscious about it. So having that go away, you still have that memory that doesn’t let you forget.”
Irene: “I used to be insecure about my eyes. I have a bit smaller eyes, it’s an Asian thing. I was always trying to accentuate them. But now I’ve accepted them and moved on. I love my eyes now and it makes me who I am. It gives me individuality. I don’t have to look like every other girl.”
What’s your beauty pet peeve?
Kendall: “I have mad OCD and I’m crazy about perfect liner. I’m your worst nightmare when doing my make up when it comes to liner. It has to be absolutely perfect or else we have to do it over again.”
What’s the biggest beauty mishap you’ve experienced?
Kendall: “I cut off all my lashes. I used blue and pink kid-scissors, went to a mirror and cut off all my lashes. My mom totally freaked. Everyone in my family all has crazy lashes, thank god I have good genes. They eventually grew back. Also, I once cut off all my little sister’s hair with some old scissors. My mom was screaming and crying. But [my sister] was a willing participant. When we were younger, she would listen to everything I said. She followed me everywhere like a puppy dog. So one time, when we were sitting in our doll house in our backyard, I asked her if I could just cut an inch off, like ‘just a trim.’ She said okay. I picked up her pony tail, cut it off and just kept on cutting. We were like five and six. I think I actually made her cuter. She ended up with a cute little bob.”
What’s the strangest thing you’ve done for beauty?
Irene: “When I was a baby, my mom cut the end of my lashes off to make them grow longer. That’s a Korean myth. She said I should thank her for my long lashes now.”
Tell us what’s amazing about The Estée Edit products.
Kendall: “It’s exciting to see the final result for the palette after all the work we put into it before we finished. I can still remember being in a room with bottles, etc and now it’s gratifying to see it in real life now. It’s amazing and I was so excited. I wanted to Instagram it ASAP, but in the end had to wait until the launch.”
What do you love about shopping at Sephora?
Kendall: “I shop there a lot. I go for all my normal stuff when I’m back at home or here in New York. I like going solo instead of with a group. I know what I want when I’m going in there. If I go in too long, I’ll buy everything. I’m decisive on makeup so I’m in and out. I’m pretty practical when shopping.”
IN ADVANCE OF THEIR IMPENDING NUPTIALS, GUEST EDITOR GAGA AND HUSBAND-TO-BE TAYLOR KINNEY EXPLORE THE CREATIVE CAPACITY OF LOVE AS A HEALING FORCE “I went to Home Depot Bought a kayak How about we paddle out into the ocean as far as you like And you can push me off” Taylor Kinney
I could not complete the covers of this issue without relinquishing one to an important cause. Taylor and I talk all the time about our unique existence on this earth. How can we use our creativity to heal people? Since we first met, Taylor’s been painting and drawing all over me. Years ago, when we were secretly living in San Diego and crashing on the floor of a beach shack, we never wore shoes. He told me he wanted to make love to me on a canvas. And though he made many murals on my body in the wee, small hours of our stoked, gypsy mornings with our friends, for whatever reason we never got around to it. So when I asked him to collaborate with me on a project to raise money and awareness about mental illness, he immediately brought my attention back to this idea. We then of course began our research. What type of paint do we use? Which colors and why? Is there a functional way to apply the paint so it smears more beautifully? Who’s to say what makes a smear beautiful anyway?
We arrived at a concept. Since many people had made art of their love on canvases before, we had to do something more—to apply a purpose greater than each other, and make love for the world. We would draw attention to something important, with an adult finger painting.
From the sale of each issue bearing Taylor and I making our painting on the cover, a donation will be made by V Magazine to the Born This Way Foundation, which helps to bring cutting-edge, social-emotional intelligence research to the world.
byrdiebeauty IT’S HERE: Our guest editor @lucyhale is back with a brand new column! Today on Byrdie, she’s talking all things winter beauty. Tap the link in our profile to see her skin saviors, current go-to hair look, and more! 💙 // Photo: @mark_girl