She asserts, boldly if not entirely persuasively, that the supreme literary form is the advice column. She is rightly celebrated for hers, Ask E. Jean, which ran in Elle magazine from 1993 through 2019, and for winning the Miss Cheerleader USA title in 1964, the invariable precursor of an esteemed career in journalism.
Her years as Middle East correspondent for NPR News gave her strong feelings about accountability, the rule of law, and handbags: “This lovely accessory is a bag made out of Saddam Hussein’s bedroom curtains.” A conversation at the Princeton Public Library. Music: Dan Kassel.
This composer and musician admires the Dalai Lama but got a little anxious when asked to sing for him: “They locked me in my dressing room…then there was a monk that was sitting next to me kind of glaring.” A conversation at the American Academy of Arts and Letters. Music: Anna Roberts-Gevalt and Carmen Rockwell.
Trained as an engineer and architect, she is the president of Pratt Institute and offers this precept: “If I didn’t do something really bad or evil, then it was a good design.” Practice and pedagogy at the Center for Architecture. Music: Cleek Schrey.
Despite a distinguished career in health policy, he calls hurling “one of the greatest loves of my life.” It is Ireland’s national sport, a game of speed, skill, and impressive injuries. Or maybe because of that career: “You’ve got to be in great shape to play this,” he tells the Irish Arts Center. Music: Those Sensible Shoes.
Some novelists begin with a character, some with a plot; Jennifer Egan – A Visit From the Goon Squad, Manhattan Beach – often starts with a sense of place: “That seems to come before there are people.” A conversation at the Center for Fiction cosponsored by the Municipal Art Society. Music: Lily Henley and Duncan Wickel. Photo: …
She practices rehabilitative medicine, as a clinician and a researcher, helping patients recover from strokes and spinal cord injuries. Why yes, she has taken a patient sky-diving. (Medicare wouldn’t cover it.) A conversation at KGB’s Red Room. Produced with Lori Schwarz. Music: Guy Ruby.
His 60 years as an architect (the Rose Center at the Museum of Natural History, the Clinton presidential library) and dean of Columbia’s graduate school of architecture brought him to this modest conclusion: “It’s not a high art; it is really a craft.” A conversation at the Center for Architecture. Music: Caitlan Warbelow. Photo: Harry …
Two generations of New York City Ballet luminaries. The latter is currently a soloist and principal; the former joined that company nearly 70 years ago as a Balanchine protégé and went on to found the National Dance Institute. Music from Jerry Korman, music director of the NDI, and Susan Walters.
Actor, writer, singer, transgender activist, she argues surprisingly (and persuasively) that anti-LGBTQ laws need not arise from animosity toward LGBTQ people but from something even more cynical. With music from, well yes, Shakina Nayfack.
This cultural historian regards Coco Chanel as a titan of fashion but notes, “Like Picasso or Wagner, she was really really brilliant and just an absolutely despicable human being.” Anti-Semite, union-buster, Nazi spy: when great artists are bad people. Plus music from Eléonore Weill and Ali Dineen. Photo credit: ©2019 The Museum at FIT
I expected this opera director to be astute and eloquent, and he was. I did not expect him to do first-rate impressions of Tom Waits, William Burroughs, and his own father. (Be honest: neither did you.) At Pratt Institute, his alma mater. Music by Pat Irwin and Walter Hawkes.
The choreographer of Hadestown and an all-around theater guy, he grew up in a house designed by his father – not an architect, a member of Mabou Mines. “It pointed me toward a creative proces which is partially planned and partially improvised.” And away from the words “beneath a heap of rubble.” A conversation at the Baryshnikov …