Posts Tagged ‘Tom Hanks’
August 17, 2016 | by Jeff Seroy
The nonlogic of Dorrance Dance’s ETM: Double Down.
Remember Tom Hanks and Robert Loggia in the movie Big, jumping around a supersize electronic keyboard on the showroom floor in FAO Schwarz? There’s a moment in Dorrance Dance’s ETM: Double Down, just performed at Jacob’s Pillow Dance, that brings this to mind. Seven dancers line up on a keyboard comprising triggerboards all in a row. Triggerboards are, more or less, the uniting principle of ETM: Double Down. They’re musical tiles, perhaps a couple of feet square: both an instrument and a dance floor. Tapping on them with the foot produces notes, or other kinds of sounds, through a computer. During the course of the evening, the sounds and sequences produced by tap dancers on triggerboards are sometimes looped and played back, becoming canons or echoes, overlaying new, “live” sounds. Read More »
May 29, 2013 | by Ellen Duffer
- Everyone agrees that getting rid of books is deeply sad.
- Liberace, pre-Soderbergh, wrote a cookbook that now sells for around $500. Included is a salad recipe that orders you not to omit the pickles.
- This is a fantastic headline: “Vintage typewriters find new life in hands of writers, actors and old repairmen.” Just ask Tom Hanks, who apparently likes to buy restored machines that belonged to the likes of Ernest Hemingway and Orson Welles.
- While e-book reading is on the rise, a new poll says parents overwhelmingly prefer reading print with their kids.
- Memoirist Rachel Howard says writing is like drawing: “Later, I could go back and do what artists call rendering—working the drawing, adding detail. But now I had a solid gesture sketch to work from.”
June 28, 2012 | by Matt Weinstock
In April The Believer declared Nora Ephron “the original Tina Fey.” This week, an obituary on The Daily Beast said that she was bigger than Twain. Both superlatives gloss over the fact that Ephron’s work was widely reviled (a Village Voice review of Bewitched even argued that “the Ephrons should have to sharecrop, for all the good they've done for the culture”) and that, even for Ephron devotees, part of the charm of seeing her latest flick was wondering whether it’d be typical Burbank dung (Mixed Nuts! Michael!) or a piece of deathless Hollywood legend.
Ephron kept dice in her purse, was willing to “teach almost anyone how to play craps at a moment’s notice,” and her writing had a gambler’s unevenness. The rambling digressiveness, along with the faint datedness, of her worldview only intensified your shock when Ephron arrived, seemingly by accident, at an incisive thought. Here she is in her 1983 roman à clef Heartburn, recounting a speech she often made while preparing Lillian Hellman’s pot roast recipe:
I have no problem with her political persona, or with her insistence on making herself the centerpiece of most of the historical conflicts of the twentieth century; but it seems to me that she invented a romantic fantasy about her involvement with Dashiell Hammett that is every bit as unrealistic as the Doris Day movies feminists prefer to blame for society’s unrealistic notions about romance … it occurred to me as I delivered [the speech] yet another time that I had always zipped through that part of the speech as if I had somehow managed to be invulnerable to the fantasy, as if I had somehow managed to escape from or rise above it simply as a result of having figured it out. I think you often have that sense when you write—that if you can spot something in yourself and set it down on paper, you’re free of it.
As someone who was corn-fed on her movies as a child, the passage seems eerily prophetic. Seeing Ephron gab about “unrealistic notions about romance” in 1983 is rather like hearing those reports that the young L. Ron Hubbard told friends, “If you want to get rich, you start a religion”—and it hints at the nagging contradictions of Nora Ephron’s life.