During the 1920s, cinematographer Claude Friese-Greene travelled across the UK with his new colour film camera. His trip ended in London, with some of his most stunning images, and these were recently revived and restored by the BFI, and shared across social media and video websites.
Since February I have attempted to capture every one of his shots, standing in his footsteps, and using modern equivalents of his camera and lenses. This has been a personal study, that has revealed how little London has changed.
The question was a trap,put to a novice politician who had only just been elected mayor and had no government experience whatsoever.
Would Michael R. Bloomberg be keeping any of the seasoned hands from the administration of his predecessor, Rudolph W. Giuliani, acclaimed after 9/11 as America’s Mayor, Time Magazine Person of the Year, not to mention The Guy Who Personally Tamed and Therefore Saved New York City?
Mr. Bloomberg had no intention of doing so, nor was he going to say that. He praised the Giuliani team. Then he explained why he needed new faces.
“After you’ve done a job for six or eight years,” Mr. Bloomberg said, “you know what can’t be done.”
The Sunday edition of a Toronto newspaper contained a fascinating, disturbing story on high-school students who are quite literally incapable of signing their own name. Alas, that would seem destined to include most children: The art of writing longhand is no longer required teaching in most Ontario schools. For today’s teenagers it’s at best a distant memory; for tomorrow’s it will be something akin to hieroglyphics.
It’s not just an Ontario thing. Penmanship also has been dropped from the Common Core State Standards, the voluntary national curriculum in the U.S., leaving it up to each state to decide whether it should be taught. Some have: North Carolina, California and Massachusetts are among states that have responded by making it mandatory. But the trend elsewhere is away from it. In the digital age, where kids are surgically connected to their keyboards, where’s the need?
I learned to type when I was…
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Since 1970, the number of foreign-born New Yorkers has more than doubled, to about three million, or 37 percent of the city’s total population, according to the Census Bureau. About 32 percent of the city’s immigrants today came from Latin America, 26 percent from Asia, 20 percent from non-Hispanic Caribbean nations, 17 percent from Europe and 4 percent from Africa.
As with earlier waves of immigrants, many of the newcomers fled economic hardship, armed conflict and other adversity, and have settled near their compatriots for convenience and mutual support, organically forming communities within the ethnic mosaic of the city.
Here are 10 such newer enclaves — the Kleindeutschlands of the 21st century — in various states of evolution. Because the foods and goods of home are such a central part of these communities, we have included places to find typical fare in each neighborhood, as well as retail spots that cater to the immigrant population. Think of them as possible starting points for exploration.
There was no mention of more sex or bungee jumps. A palliative nurse who has counselled the dying in their last days has revealed the most common regrets we have at the end of our lives. And among the top, from men in particular, is ‘I wish I hadn’t worked so hard’.
Bronnie Ware is an Australian nurse who spent several years working in palliative care, caring for patients in the last 12 weeks of their lives. She recorded their dying epiphanies in a blog called Inspiration and Chai, which gathered so much attention that she put her observations into a book called The Top Five Regrets of the Dying.
Ware writes of the phenomenal clarity of vision that people gain at the end of their lives, and how we might learn from their wisdom. “When questioned about any regrets they had or anything they would do differently,” she says, “common themes surfaced again and again.”
SOFT-SPOKEN, INTELLECTUALLY FOCUSED, allergic to displays of temperament and attentive to his colleagues, as well as to the language of classical dance, choreographer Alexei Ratmansky is, understandably, in demand by ballet companies from Miami to Australia. He has made his mark on classical works of nearly every description: long ballets; short ballets; story ballets; storyless ballets haunted by characters looking for a story; ballets that are formal constructions or moving architecture; ballets for opera. Many of his works are set to music by composers from his native Russia (he has an especially keen interest in the music of Dmitri Shostakovich), and several are personal reconstructions of stagings by Soviet choreographers of the Stalinist period, whom Ratmansky believes have been given short shrift by history.