Culture: 60 years ago Jackie Robinson ...

Image source:
http://www.americaslibrary.gov/jb/modern/jb_modern_robinson_1_e.html

60 years ago, Jackie Robinson broke the color barrier in baseball.

Over at Dodgers.com is a whole bunch of features about the celebration of that historic moment and about a life well led.

Ceremonies at all games played tomorrow, April 15, will be held in recognition of Robinson. Most notable will be the wearing of uniforms with the number 42 on them by players who wish to honor Robinson in that way. The number had been retired by the MLB with only players who already were using number 42 allowed to continue wearing it. As of today, only Mariano Rivera is in that group. Of the honor he said:

As a minority, I feel honored wearing the No. 42 and carrying the legacy that Jackie Robinson left. I wear it with good pride. That's the way it goes. All the guys retired or left, and I'm still carrying the number. I feel blessed for that.

The idea of wearing 42 came from Ken Griffey, Jr.

It's just my way of giving that man his due respect. I just called Bud (commissioner of baseball Selig) and asked him if I could do it. He made a couple of phone calls and said, Yeah. We had a good conversation. It was about me wearing it on that day, and only that day.

Each jersey used in the remembrance will be auctioned and the proceeds donated to the Jackie Robinson Foundation. Quoting from their "about the foundation page:"

The Jackie Robinson Foundation (JRF) is a public, not-for-profit national organization founded by Rachel Robinson in 1973 as a vehicle to perpetuate the memory of Jackie Robinson and his achievements. Serving as an advocate for young people with the greatest need, the Foundation assists increasing numbers of minority youths through the granting of four-year scholarships for higher education.

The Jackie Robinson Foundation provides much more than financial support. While each Jackie Robinson Scholar receives up to $7,200 a year in financial support, they also become an active member in the Foundation’s unique Education and Leadership Development Program, which is an extensive mentoring program that includes attendance at workshops, assignment of a peer and a professional mentor and placement into summer internships and permanent employment.

Culture: Who am I?

Recently, one of the games we played at our youth group involved putting the name of someone in the pop-culture on the forehead such that the wearer can't see the name. One then asks yes/no questions to gain clues to the identity.

Can you guess who I am?

Am I a man? No.
Am I a real person? Yes.
Am I in the news? Yes.
Am I a political figure? No.
Am I a sports figure? No.
Am I in the movies? Yes.
Am I pretty? Yes.
Am I funny? Yes.
Am I this person? Yes!

Did you guess correctly?

Culture: Countdown to Tannhauser - The LA Times Review

I haven't seen it yet but the LA Opera opening night premier of Tannhauser took place this past Saturday and LA Times critic Mark Swed has his report. Excerpt:

In "Tannhauser," the second of his 10 mature operas and presented for the first time by Los Angeles Opera Saturday night, Wagner finds no sanction between love and lust. For sex, Tannhauser, a troubadour, sinks into the arms of the goddess of love, Venus, in her 24/7 orgy realm. For salvation, he returns to strait-laced society of the virginal Elizabeth and seeks the pope's forgiveness.
........
For its new production by Ian Judge, Los Angeles Opera - ever eager to seem an adjunct of Hollywood - advertises raunchiness, not redemption. Nudity is promised and delivered in quantity onto the Dorothy Chandler Pavilion stage.
.........
After half an hour of silly sex, a lot of redemption is required. Amazingly, the makeshift production achieves it.

.... it is Schnitzer's Elizabeth who, by supplying the warmth and ardor missing from Venus, illuminates this production. Martin Gantner is an appealing Wolfram, the one knight who doesn't turn against Tannhäuser, and his song to the evening star, given a slow and stately tempo by Conlon, is moving. Rodrick Dixon makes Walther von der Vogelwiede the most fervent troubadour. Franz Josef Selig is a capably rigid Heinrich, Elizabeth's uncle.
........
"Tannhauser," which usually starts wonderfully and ends drearily, did just the opposite Saturday night. Forget the ads. Los Angeles Opera's "Tannhauser" redeems itself Wagner's way, not Hollywood's. Whether you consider that triumph or tragedy may depend upon which side of town you live.

So I guess Swed has given it a sort of a thumbs up?

My review will be up when I see the opera toward the end of its production run in a few weeks.

Culture: Countdown to Tannhauser ... oh my!

I previously blogged about my plans to go to an annual opera event.

I went to the Los Angeles Opera web page and saw the following notation to the Tannhauser ad banner -- "Viewer Discretion advised: nudity, adult language, strong sexual content."

Oh, my!

Is the libretto R (X-rated?) -- gasp!???

Or is it this production's interpretation of the opera?!

Okay, opera fan readers, what's the scoop?

Enquiring minds want to know!

UPDATE: Decided to check out Amazon.com to see what DVDs of Tannhauser look like. The NY Metropolitan Opera has the top selling DVD. Excerpt:

Under the artistic leadership of conductor James Levine, the production team of director Otto Schenk and designer Günther Schneider-Siemssen has adhered strictly to the composer's wishes. These are not hard to fathom; they were clearly articulated in his lifetime and rigorously enforced at Bayreuth long after his death. But in the last half-century they have been frequently violated by his descendants and heirs, among others. The temptation to plumb these music dramas for symbols and allegories is almost irresistible. In this production, like the later Met edition of the Ring cycle, the artists sensibly allow each audience member to develop a personal interpretation without undue interference.

There is a DVD for a production filmed at Bayreuth. Excerpt:

The staging is classic Wolfgang Wagner with the round moving stage in Act I, the round Hall of Song in Act II (a particularly lovely setting, I felt), and in Act III's minimalist mound in the valley of the Wartburg. Costumes are suitably minimalist and in muted colors but with interesting detailing.

Here is the production by the National Theatre of Munich. Excerpt:

In Richard Wagner's obsessive drama, with its themes of sin and repentance, cultural inhibition and artistic spontaneity, sexual excess and lost innocence, symbols sprout as profusely as dandelions on summer lawns. A lot of the symbols were put there by the composer (who also wrote the libretto), but for this production director David Alden has decided to add many more--notably in the first scene: an orgy in the love nest of the goddess Venus. The sadomasochistic visuals, reminiscent of the feverish inventions of Hieronymus Bosch, may help to explain Tannhäuser's decision that he wants to go home. Like the scenery, the costumes are eclectic, ranging from modern, formal evening gowns to medieval suits of armor and even, in a few choice instances, nothing at all.

Hmmm, I suppose this LA premier production will follow the Munich approach?!

The LA Opera has posted a video of some of the rehearsals. They repeat the viewer discretion is advised. From the music I heard on the video and from what I read from this Wikipedia synopsis of the opera, it would appear that after the overture is the ballet/bacchanalian orgy scene at the Venusberg. It would also appear that some productions (including LA's) of this opera have opted to leave little to the imagination.

Is this a good thing or a bad thing?

Discuss amongst yourselves.

Culture: Coaching the Lord's Way

Congrats to the Colts, Coach Dungy, Peyton Manning and their whole team and organization.

But what is wonderful is that the two head coaches are such decent and honorable men.

To read about their Christian commitment check out this web page.
HT: HH.

Culture: Countdown to Tannhauser

Opera is one the most compelling and captivating of all the performing arts. It is essentially a dramatic work that is primarily sung, is accompanied by an orchestra, and is presented on the stage. Opera, however, with its lavish spectacle, high drama and visual and aural treasures, is much more than that. No other art form combines such disparate elements – singing, acting, lighting, design, orchestra, movement and dance into such a seamless whole. It engages our minds, captures our hearts and releases our imaginations.

The combination of words and music can, at its best, let us experience things about human character, feelings, moods and motivations that music and words, on their own, are powerless to express. It is like a window into the soul of a character. It is no wonder that no other art form inspires such passion in its audience and participants.

The above item is from the Opera Basics tab of the LA Opera web page.

A few years back, I set the goal of attending one opera per season.

I've always been a fan of classical music.

However, classical music mixed with the performing arts has been a little harder for me to grab onto.

I've seen a few ballets here and there. The Nutcracker is always a pleasure because the music is so interesting and the costumes are so colorful. Midsummer Night's Dream has soothing music and its comedic elements manage to come through even with no words. Romeo and Juliet is the classic tragedy and since we all know the story so well I find it remarkable how the story is still so riveting as we head to the inevitable tragic ending.

As for opera, what can I say?

It is probably the most over-the-top performing art style there is!

For an overview of opera, check out this web page from the famous New York Metropolitan Opera.

The four operas I've seen were with the Los Angeles Opera. For the story synosis, I've linked to various opera company web pages. In 2003, I saw Turandot, for 2003, Madama Butterfly, Aida in 2005 and last year, 2006, I saw Marriage of Figaro.

For 2007, I'll be seeing Tannhauser.

Am planning to blog occasionally in the countdown to seeing it and of course will do a post after I see the opera.

Anyway, a part of me laughs at the whole idea of opera. As I say, it is way over-the-top and the price of the ticket means it (attending live performances) would never be a regular part of the average person's life.

However, I remain intrigued. Part of it is simply the fun experience of attending an event and the corresponding people watching of the people watching the opera. But another part of my interest is my need to grapple with the most primal issues of human existence. I wrestle in my private prayers and meditations. I contemplate through converstions with good friends. And, indeed, I struggle by experiencing the arts. Philosophy professor John Mark Reynolds (many others have said - I just happened to hear it first from him) has said we learn about life both by "logos" and "pathos."

Opera would definitely be in the "pathos" mode of communication!

UPDATE: I suppose the "pathos" of the four operas I have seen highlight the power of love as motivation. In Turandot, the lead character risks his life to answer the three riddles to win the woman of the story. Madama Butterfly is terribly tragic as the lead character holds a love that can only lead to grief. If you have seen Miss Saigon, you have seen essentially the same story. Aida also comes to a tragic end but at least the two lovers are together in their death. Marriage of Figaro is a comedy of mis-understandings but in the end the lovers all find there way back to each other and all ends well. I've read the summary for Tannhauser and yet again, the story is about love with its joys and despair. More to come as the opera approaches!

Culture: Remembering United 93

In youth group this morning, our speaker shared about the intersection of remembering, forgetting and anticipation.

We need to remember the past because we need to be grateful for the good that has happened.

We need to forget the past not in the sense we deny it ever happened but some aspects of our past need to be forgotten because we don't want those things to define who we are today and into the future.

We need to anticipate the future because a life with nothing to look forward to is a sad life.

No doubt about it, it was a message we all needed to hear given some of the things that have happened in our church.

If life is to have meaning beyond mere existence, then one must reflect. In Christ, we have the benefit of a God whose blessings inspire our gratitude and whose grace can make sadness meaningful.

For the afternoon, my mind took a turn toward remembering a national moment, I watched the DVD of United 93.

When the film came out, many people said it was too soon.

I went to see the film on the first weekend it came out. I went alone. I didn't have the heart to ask any friends to join me for fear they would not want to see the film or to impose on them to see the film out of obligation to tag along with me.

I confessed to wondering what motivated my fellow movie goers that night.

Did they know someone on the flight? Or someone who died on 9/11?

I did not.

I went to see the film because I felt the need to remember the horrors of that day but also the heroism.

The advertising tag line for the film was: On September 11th, one of the darkest days in our nation, 40 ordinary people sat down as strangers and stood up as one.

That resonated with me.

Like most people, I read the various profiles about the passengers of that flight, saw the interviews about the final phone calls, felt the anger and outrage at the incomprehensibility of such blind hatred and wept at the lost lives many cut down in the prime of life.

In support of remembering, I'm making a contribution to the Flight 93 National Memorial Fund.

On the home page, it succinctly explains why:

The story of Flight 93 is a national treasure -- a story of hope in human courage and cooperation. When confronted with the gravity of their situation, the passengers and crew of Flight 93 chose to act heroically and sacrifice their lives for their country. These 40 heroes made a democratic decision to fight back against terrorism and thereby thwarted a planned attack on our nation’s capital, saving countless numbers of lives.

I encourage you to donate if you haven't already. I also urge you to see United 93 if you haven't already.

Culture: Who cares?

Prager's guest on the radio today is Arthur Brooks, a professor of public administration at Syracuse University, who has writtten the book Who Really Cares: The Surprising Truth about Compassionate Conservatism.

His research indicates the best indicator of charitable giving and other forms of compassion (for instance blood donation and volunteer hours) are:
1 - religious commitment, the more religious generally give more
2 - political perspective, those who believe it is the responsibility of government to redistribute income generally give less.